Tanat Teeradakorn creates scores that are based on the research that he does, akin to a sonic backdrop that simulates the environmental space. Working with sound as if a material, he employs technology as a tool to “sculpt” the medium, making new sounds based on sounds that previously existed. In crafting these soundscapes, Teeradakorn often uses software to breakdown the original music into fragments to use as his source material. Overloading the pre-existing sonic signatures in the base sounds he works off; he renders it difficult to discern the original music from his completed tracks.

In —DOOM LOOP: DEATH MONOLOGUE [DELUSIONAL OF KONGJAK], the artist has worked off a popular Thai dirge, Toranee Kansaeng (The Weeping Earth) for the creation of the artwork. Despite his research, the artist was unable to determine the original composer of the tune, although he had discovered that at some point in its history, what had begun as a sad tune was adjusted take on a ceremonial tenor. While initially performed as a part of funeral rites, the tune eventually found its way into political protests, becoming a tool employed by protestors as well. Rather than adopting conventional approaches and incorporating the archetypal dramatic structure in the development of this sonic artwork, Teeradakorn has eschewed the rise, climax, and fall in his pursuit of what he deems as a “stable sound”.


DOOM LOOP: FENCE OPERAS [ENIGMATIC MOTIFS] in collbrolation with CC:Chances in Chaos, part of the group exhibition Trauma and Care at BANGKOK CITYCITY GALLERY, 2021