These paintings compress things the artist keeps running into: advertising, comics, religious ritual, family memory, the conditions of daily life in Bangkok. Separate subjects that arrived together and are painted that way. Figures collapse into objects, bodies into architecture, the recognisable into something harder to place.

Across the exhibition, abstraction and figuration are in open contest. In some works figuration holds its ground, a hand or a face pushing through clearly enough to anchor the composition. In others abstraction takes over almost entirely, leaving only fragments; an ear, a limb, a gesture, as evidence that something recognisable was there to begin with. Neither side wins, and that unresolved tension is where the paintings generate their charge.