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Local Sensations will have its premieres in the EU & US ✨

• North American Premiere at MoMA Doc Fortnight 2026
https://www.moma.org/calendar/events/11239

• French Premiere at the 48th edition of Cinéma du réel
(Competition Program)
https://www.cinemadureel.org/en/48th-edition-d-39-films-in-competition/

• European Premiere at CPH:DOX 2026
(NEW:VISION AWARD Section – Competition Lineup)
https://cphdox.dk/cphdox-2026-unveils-its-competition-programme/

The project receives the 24th SILPA BHIRASRI CREATIVITY GRANTS

A film by @tulapop_s

Congrats to all the crew and cast.
Grateful to take part as sound performance / sound sculpture design.

poster by @ben_benjarat

#cinemaduréel #cphdox #momadocfortnight

Local Sensations will have its premieres in the EU & US ✨

• North American Premiere at MoMA Doc Fortnight 2026
https://www.moma.org/calendar/events/11239

• French Premiere at the 48th edition of Cinéma du réel
(Competition Program)
https://www.cinemadureel.org/en/48th-edition-d-39-films-in-competition/

• European Premiere at CPH:DOX 2026
(NEW:VISION AWARD Section – Competition Lineup)
https://cphdox.dk/cphdox-2026-unveils-its-competition-programme/

The project receives the 24th SILPA BHIRASRI CREATIVITY GRANTS

A film by @tulapop_s

Congrats to all the crew and cast.
Grateful to take part as sound performance / sound sculpture design.

poster by @ben_benjarat

#cinemaduréel #cphdox #momadocfortnight

Local Sensations will have its premieres in the EU & US ✨

• North American Premiere at MoMA Doc Fortnight 2026
https://www.moma.org/calendar/events/11239

• French Premiere at the 48th edition of Cinéma du réel
(Competition Program)
https://www.cinemadureel.org/en/48th-edition-d-39-films-in-competition/

• European Premiere at CPH:DOX 2026
(NEW:VISION AWARD Section – Competition Lineup)
https://cphdox.dk/cphdox-2026-unveils-its-competition-programme/

The project receives the 24th SILPA BHIRASRI CREATIVITY GRANTS

A film by @tulapop_s

Congrats to all the crew and cast.
Grateful to take part as sound performance / sound sculpture design.

poster by @ben_benjarat

#cinemaduréel #cphdox #momadocfortnight

Local Sensations will have its premieres in the EU & US ✨

• North American Premiere at MoMA Doc Fortnight 2026
https://www.moma.org/calendar/events/11239

• French Premiere at the 48th edition of Cinéma du réel
(Competition Program)
https://www.cinemadureel.org/en/48th-edition-d-39-films-in-competition/

• European Premiere at CPH:DOX 2026
(NEW:VISION AWARD Section – Competition Lineup)
https://cphdox.dk/cphdox-2026-unveils-its-competition-programme/

The project receives the 24th SILPA BHIRASRI CREATIVITY GRANTS

A film by @tulapop_s

Congrats to all the crew and cast.
Grateful to take part as sound performance / sound sculpture design.

poster by @ben_benjarat

#cinemaduréel #cphdox #momadocfortnight

Local Sensations will have its premieres in the EU & US ✨

• North American Premiere at MoMA Doc Fortnight 2026
https://www.moma.org/calendar/events/11239

• French Premiere at the 48th edition of Cinéma du réel
(Competition Program)
https://www.cinemadureel.org/en/48th-edition-d-39-films-in-competition/

• European Premiere at CPH:DOX 2026
(NEW:VISION AWARD Section – Competition Lineup)
https://cphdox.dk/cphdox-2026-unveils-its-competition-programme/

The project receives the 24th SILPA BHIRASRI CREATIVITY GRANTS

A film by @tulapop_s

Congrats to all the crew and cast.
Grateful to take part as sound performance / sound sculpture design.

poster by @ben_benjarat

#cinemaduréel #cphdox #momadocfortnight

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

‘Monumentality’, ‘Local Sensations’, ‘swing low’

Just before Songkran 2025, I received a message from Tulapop Saenjaroen, inviting me to perform in his new experimental film. The only concept he revealed to me was that it would deal with ‘monumentality’ in an ambiguous connection to the local context. At that time, I happened to be interested in creating a sound installation/sculpture, so I pitched him an idea to perform with this.
The atmosphere back then in Thailand was overshadowed by news of building collapses and earthquakes. So, I began to work by observing those situations from afar, taking notes, weaving ideas together with my main interests in feedback and randomness. This led to sketches that incorporated objects, a chaotic pendulum mechanism, microphones, and speakers. Later, thanks to Mo, who coordinated with Ton and the Roundmade Studio team, the work was assembled with great professionalism.
By late May, we started filming. It was my first time working with 16mm black-and-white film. P’Nan helped with cinematography, joined by the team: Pleum, Mark, P’Yui, and many others, shooting together in a sweltering location. The difficulty of shooting on film was that I had to improvise long takes in a single go. Some pieces were especially challenging, as we had to record acoustic instruments, including Burma dobro and Tena (Pw aka Nyaw folk instrument), which I chose for their sound and representation that aligned with the work. The crew was amazing at keeping everything smooth and complete.
In the period before the film screening, I asked Doc to take some still photos, with Rin and Yim as assistants. It was great fun, and I was grateful to have everyone’s support throughout.
At the Silpa Bhirasri Creative Grants opening, I reduced elements of the main work into a smaller version: placing objects inside a glass bowl, playing with them together with a lap steel guitar, using the same pair of speakers. Everything was placed close together, letting feedback emerge, staying to the original concept.

#sonicart #soundinstallation #soundsculpture

Happy to share that Fragments (2023) from my album RhizomE x Ju Ju will be part of the Lá nas Árvores festival in Portugal—presented in a 4-channel setting.

Lá nas Árvores” is a project of Évora_27 – European Capital of Culture, led by the University of Évora, in partnership with the @projecto_dme and the Lisboa Incomum Association, the work will be featured in a sound installation at the Évora Public Garden Bandstand on April 11th and 12th.

Happy to share that Fragments (2023) from my album RhizomE x Ju Ju will be part of the Lá nas Árvores festival in Portugal—presented in a 4-channel setting.

Lá nas Árvores” is a project of Évora_27 – European Capital of Culture, led by the University of Évora, in partnership with the @projecto_dme and the Lisboa Incomum Association, the work will be featured in a sound installation at the Évora Public Garden Bandstand on April 11th and 12th.

‘packages’, the live recording of this—is out now on streaming

▷ ’packages’ (2026) – Out Now ◁
Captured live at QUADVARIUM #2, this EP is a multi-layered journey into the multi-channel spectrum. Ham uses the Curabab transform through Max/MSP in a raw, improvisational performance.

Listen / Support on all streaming platforms or hamtanid.bandcamp.com

Rendezvous at @solaris_th
@sumrub on keys
@gcwacr on turntable
Me on guitar

Link to the full clip in bio

Rendezvous at @solaris_th
@sumrub on keys
@gcwacr on turntable
Me on guitar

Link to the full clip in bio

Rendezvous at @solaris_th
@sumrub on keys
@gcwacr on turntable
Me on guitar

Link to the full clip in bio

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

Bari Kim meets Ham Tanid 30 Jan 2026
Captured by @kitayayuga_s @yimyhamm

testing @inagrm grm atelier @mqtthiqs + @submarinepickup

#voicewoicehamtanid

@bari.dance meets Ham Tanid

Captured by @kitayayuga_s 🙌

@bari.dance meets Ham Tanid

Captured by @kitayayuga_s 🙌

@bari.dance meets Ham Tanid

Captured by @kitayayuga_s 🙌

@bari.dance meets Ham Tanid

Captured by @kitayayuga_s 🙌

@bari.dance meets Ham Tanid

Captured by @kitayayuga_s 🙌

ยินดีกับพี่ตุล @tulapop_s , ทีมงาน และหนัง ‘Local Sensations’ ที่ได้ไปอเมริกันพรีเมียร์ที่ MoMA Doc Fortnight 2026 ด้วยครับ สุดยอดไปเลย ดีใจที่ได้เป็นส่วนหนึ่ง

หนังจะฉายคู่กับ Narrative โดยพี่ใหม่ @suwichakornpong

——
Congratulations to P’Tul (Tulapop), the team, and the film ‘Local Sensations’ on its North American premiere at MoMA Doc Fortnight 2026! Happy to have been a part of it.

The film will be screened alongside Narrative by P’Mai Anocha Suwichakornpong.

https://www.moma.org/calendar/events/11239

ยินดีกับพี่ตุล @tulapop_s , ทีมงาน และหนัง ‘Local Sensations’ ที่ได้ไปอเมริกันพรีเมียร์ที่ MoMA Doc Fortnight 2026 ด้วยครับ สุดยอดไปเลย ดีใจที่ได้เป็นส่วนหนึ่ง

หนังจะฉายคู่กับ Narrative โดยพี่ใหม่ @suwichakornpong

——
Congratulations to P’Tul (Tulapop), the team, and the film ‘Local Sensations’ on its North American premiere at MoMA Doc Fortnight 2026! Happy to have been a part of it.

The film will be screened alongside Narrative by P’Mai Anocha Suwichakornpong.

https://www.moma.org/calendar/events/11239

Our new live album ‘Other Side Gathering ‘is here

Listen via Bandcamp
https://hamtanid.bandcamp.com/album/other-side-gathering
Streaming
https://bfan.link/other-side-gathering

–or you can click the link in bio

Artwork by @bankjork

Our new live album ‘Other Side Gathering ‘is here

Listen via Bandcamp
https://hamtanid.bandcamp.com/album/other-side-gathering
Streaming
https://bfan.link/other-side-gathering

–or you can click the link in bio

Artwork by @bankjork

Reminding you about out special event this Friday night! For the first time at PoA White Box, Bari and Ham meet in a shared state of listening. Ham speaks through strings and sound, Bari through the body as instrument. In this live improvisation, music leans toward dance, dance dissolves into music, a continuous exchange of breath, movement, and resonance.

Book tickets now for the best price:
https://www.peopleofari.com/events/bari-kim-meets-ham-tanid

Bari Kim is a dance artist and improviser based between Jeju and Seoul. Her work explores listening, time and space, embodied nature, and the dialogue between dance and music. Performing internationally across Asia and Europe, she moves between dance and voice, solo and collaboration. She received the Best Dance Award 2020 from the Korean Dance Critics Association. She founded the improvisational performance group Improad Badak in 2008 and is an active member of interdisciplinary and experimental projects including BARINAMO, SHINBI BAND, and Windstone. She also performs as a musician under the name CrystalEar, using her voice as an instrument.
Ham Tanid is an electro-acoustic artist, guitarist, and composer whose practice connects improvisation with traditional music and Buddhist philosophy. Through live looping, computer music, and site-specific field recording, he explores sound as a spatial and experiential medium, creating immersive sound installations and performances. His recognisable works include RhizomE x Ju Ju (Best Asian Creative Artist, GIMA 2023) and a work presentation at Ars Electronica Forum Wallis 2025.
A performance of deep listening, where sound becomes movement, and movement becomes sound.
Tickets:
300 THB (online)
400 THB (at door)