ENDLESS ACCUMULATION Project
The project developed through a material-based research process. During the first stage of her residency, the artist traveled by motorcycle from southern Thailand through Malaysia and Sabah, following landscapes shaped by the rubber industry and observing the gradual transformation of rubber plantations into oil-palm plantations. The daily distance traveled became a spatial measure and, eventually, a structural unit within her woven works. In the traditional technique of coiling, each turn of the fiber becomes an accumulation of bodily labor, rhythm, and time. Each stop along the journey becomes another point of connection, allowing the basket to gradually take shape as a map written through the movement of the body.
Within this process, the basket moves beyond its conventional function as a container. It becomes a material structure that holds routes, landscapes, and economic flows. At once a map generated through movement and a vessel of accumulation, it echoes the repetitive processes of the rubber industry: tapping trees, collecting latex, and waiting for drops of liquid to accumulate. Small, repeated acts of labor, when extended through time, become part of a much larger industrial system.
The exhibition extends this trajectory of material, movement, and bodily labor through batik paintings, rubber sculptures, works-in-process, and the container sculptures produced through workshops conducted with students during the residency. These works bring together field research, individual artistic practice, and collective making, allowing different forms of movement and material exchange to intersect within the exhibition space.
Endless Accumulation is therefore not simply a study of rubber or the landscapes of Southeast Asia. It is an experiment with accumulation itself: how materials accumulate, how labor accumulates, how distance becomes measurable, and how memory leaves traces through repeated movement and action. Between the personal and the collective, the local and the transregional, the works become temporary structures formed through bodily labor—holding traces of journeys, materials, and histories that continue to move.
This is part of the Art Exchange Program 2026 as an Artist-in-Residence Project at Faculty of Fine and Applied Arts, Thammasat University, Thailand