The Void
“The Void” here refers to a threshold within the mind, akin to standing on the edge of a cliff, where one must decide how to move forward. It is a state of suspension, hovering between what remains and what has already begun to fade. The atmosphere holds tension and pressure between time, memory, and emotions, dissolving yet leaving behind fragile traces. A single decision may cause fractures or loss.
Yet this void is also the foundation of human emotions that everyone must encounter. The fear of loss does not end there. Destruction is not only an act of erasure, but also the first step in opening the way toward an unfamiliar path. In this sense, the void becomes a force of action, a propulsion toward what is yet to come.
Warot Jarusirikul’s practice often uses his own existence as a lens for exploring the human anatomy and psyche, illustrating the darker, hidden aspects of human nature. A question sometimes lingers in his mind: “Should the darker side of human nature be revealed, or be kept hidden?” By turning the gaze inward, the artist uses himself as the reflection of human example, avoiding the assumption that everyone shares the same hidden flaws, making the work a deeply personal yet universally resonant reflection.
Having long been fascinated by the connection between the human mind and body, Warot Jarusirikul continues to explore the intertwined realms of the psyche, anatomy, consciousness, and the elusive inner darkness of humanity. His work often emerges from daily life and pivotal moments, which he reimagines as ambiguous, organic forms and figures. From it, he examines the unspoken darkness within and its deep ties to human emotion, the hidden aspects that society often keeps unseen. His fascination with anatomy is not merely a study of the scientific truth of the body, but also reflects humanity’s attempt to understand the hidden drives within; anatomy becomes both a space of knowledge and imagination, where the body reveals its ties to desire, memory, and repression. This exploration connects to the twentieth-century Surrealist framework, in which the body, as a field of desire and fear, produced images that merged anatomical reality with dreamlike logic, becoming a representation of the unconscious where memory, longing, and repression were reconfigured into new forms. Beauty and dread thus coexist within a body reinterpreted and reconstructed, no longer viewed solely as flesh but as a site of transformation and imagination.
The internal organs of the body serve as vessels that contain desire, memory, and suppressed experiences. Their shapes shift under the influence of experience, thought, and emotion, reconstructed into strange tissues. In another sense, the body’s organs reveal the traces of psychological states, situated in a liminal space of transformation, which are translated into anatomical forms. They carry a surreal quality, floating in a dream yet instilling unease at the same time.
In these new artworks, cool tones dominate the canvas, evoking a sense of being caught in the in-between with unease and an awareness of impermanence, mixed with the helplessness of not knowing what lies ahead. At the same time, it invites the viewers to witness the beauty that comes with the change and transformation of memories.
By Ponpavee Rittirongkhajorn, 2025
Calamity, 2024
Oil on canvas
280 x 190 cm
The image of intertwined inner tissues overlapping one another forms dark fibers, blackened as if they were walls born from binding and pressing against each other. They grow into vast surfaces that echo the natural currents of movement within living organisms. They flow, twist, and collide relentlessly until bruised from within, like roots suddenly torn from the earth. An event without warning, leaving traces that remain deeply embedded in the human mind. This work invites us to witness a “Calamity” that does not occur only on the outside but also within the consciousness, where tension, pressure, and emotional remnants are preserved, slowly dissolving along with time and memory.
It is an image of violence and collapse, conveyed through the organic flow of life itself, capturing a fleeting moment suspended between presence and disappearance. It embodies the paradoxical experience of existing and losing at once. The fibrous tissues surge toward one another and crash together without direction, raw and destructive, resembling a natural disaster that suddenly reshapes the landscape.
Yet here, calamity is a state of transition. Standing at the threshold between disintegration and the choice to move forward, the damage takes root deeper than the physical and burrows into consciousness, where it may never be restored. It lingers unresolved, a reminder of the tragic truth of the fragility and unfathomable depths of the human mind.
Erosion, 2025
Oil on canvas
59.5 x 42.5 cm
A storm begins to form above the vast ocean, where fierce waves surge and darkness slowly spreads across the sky. Amidst this chaos, a solitary iceberg stands tall, yet it too must struggle against the emotional tempests that erode the inner self. The mind becomes a vessel that contains negative feelings, unable to be mended, healed, or completely released.
In Erosion, the artist turns to the landscape, a departure from his usual focus on the living tissue of organic forms. Here, the story unfolds through the seascape, where turbulent waters and a darkening sky create an emotional terrain. When embarking on an inner journey through a state of vacuum, the decision to move forward into the external world is never simple, for every experience encountered threatens to shift into a storm within. The waves themselves become vessels of emotion, carrying memories that expand, collide, and crash upon one another. These heavy tides carve into the psyche, setting in motion a slow process of erosion. What once stood firm like the iceberg at the center gradually changes form over time, until at times the damage can no longer be undone.
Inflame, 2025
Oil on canvas
59.5 x 35.5 cm
Warot narrows his gaze to a fragmented piece of “Calamity,” magnified and intensified into a closer view. The overlapping tissues expand into dense, swollen masses, heavy with emotional pressure. The organic flow remains, echoing the inner movements of a living body, yet here it feels more concentrated, tense, and suffocating. At the core, a faint light flickers against the surrounding darkness, giving the form a sense of inner pulsation, as if what has long been confined is now seeking release, ready to erupt into view.
Static, null, and dumb, 2025
Oil on canvas
59.5 x 41 cm
The painting is created primarily in cool tones, resonating with the atmosphere of the exhibition. Scattered fragments of yellow glimmer like flickering streaks of light in the darkness. Large, flowing forms with hints of organic tissue suggest both restraint and release, rejection and expression, layered upon one another into thick textures on the canvas.
“Static, null, and dumb” is the result of Warot allowing his hand to move freely across the canvas. What began with the intention of guiding the brush gradually gave way to instinct, letting forms slowly emerge without clinging to a fixed outcome. Although the title may evoke stillness, emptiness, and silence, the work itself reveals movement, fluidity, and unpredictable flashes of light.