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Udomsak Krisanamis’s practice has long been characterised by his specific use of collage, creating obsessive pattern made from newspaper, noodles, cellophane and paint. Over the past two decades Udomsak’s work has maintained a distinct formal and conceptual clarity, offering a unique experimentation with the well-worn territories of grid. While his paintings refuse to adhere to any particular context or obvious narrative, his imagery has undergone certain key transitions.
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