Epilogue : A Diffraction Grating
A solo exhibition by Chitti Kasemkitvatana
16 May – 30 July 2026
Gallery Seescape
"If Chitti Kasemkitvatana’s previous exhibition unfolded as an exploration of overlapping temporal layers, bringing into relation scientific instruments from the Enlightenment with cultural artifacts and local mythologies, then Epilogue: A Diffraction Grating can be understood as a return to that excavated ground. It is now seen through a lens that refracts, overlays, and reconstitutes it. The artist thus moves beyond presenting static objects or fixed narratives, opening instead a condition of reality that exists across multiple states.
At the core of the exhibition lies the concept of superposition, which suggests that particles can exist in multiple states simultaneously until they are observed. Chitti adopts this logic as a working method, allowing religious mythologies, histories, personal memories, and scientific imaginaries to entangle without hierarchical ordering. At the same time, light operates as more than a medium, becoming the condition through which these possibilities emerge via processes of dispersion and overlap. What unfolds is a field of potentiality, where contradictions are able to coexist.
Light exceeds its role as a vehicle of visibility. It operates through diffraction, breaking apart the apparent unity of the world. Chitti uses light to reveal that what appears as a seemingly continuous wave is composed of diverse particles and fragments that move, intersect, and refract through one another. His practice thus becomes a form of speculative world-building that does not seek a definitive resolution, but foregrounds processes that remain perpetually open.
The world constructed within this work branches and overlaps like a work of speculative fiction with no fixed point of origin, slowly forming from fragments of myth, personal memory, belief, and entangled imagination. In such a world, no single master narrative dominates; instead, multiple narratives unfold simultaneously without the need to converge into a unified whole. This logic echoes the quantum condition, where reality takes shape through the conditions of its appearance and perception, rather than being predetermined.
This profundity becomes particularly evident in the case of Wat Phra Phutthabat Si Roi. For the artist, this site is more than sacred geography; it emerges as a living repository of knowledge. The superimposed footprints of the four Buddhas embody deep time, where sediments of the past remain embedded and continue to shape the present. The site connects to a wider network of mythologies and ways of seeing that the artist traces through his journeys.
As distance is compressed through contemporary technologies, travel moves beyond a simple movement across space and becomes a passage through layers of time. The question thus shifts from one of location to an experience of temporality itself. Travel emerges as a traversal of entangled temporalities, where distant pasts and the present moment intersect in continuous dialogue.
Epilogue: A Diffraction Grating opens the world as something still in the process of formation through the diffraction of light, narrative, and perception. Time here unfolds across multiple directions, scattering, overlapping, and looping back to reconnect—remaining in constant motion and open to ongoing interpretation." — Pathompong Manakitsomboon
Epilogue: A Diffraction Grating is the final rendition of Epilogue : a three-part Interdisciplinary Art Project on Time (2025-2026), which is made possible with generous support from Contemporary Art Promotion Funds, Office of Contemporary Art and Culture, Ministry of Culture.
A solo exhibition by Chitti Kasemkitvatana
16 May – 30 July 2026
Gallery Seescape
"If Chitti Kasemkitvatana’s previous exhibition unfolded as an exploration of overlapping temporal layers, bringing into relation scientific instruments from the Enlightenment with cultural artifacts and local mythologies, then Epilogue: A Diffraction Grating can be understood as a return to that excavated ground. It is now seen through a lens that refracts, overlays, and reconstitutes it. The artist thus moves beyond presenting static objects or fixed narratives, opening instead a condition of reality that exists across multiple states.
At the core of the exhibition lies the concept of superposition, which suggests that particles can exist in multiple states simultaneously until they are observed. Chitti adopts this logic as a working method, allowing religious mythologies, histories, personal memories, and scientific imaginaries to entangle without hierarchical ordering. At the same time, light operates as more than a medium, becoming the condition through which these possibilities emerge via processes of dispersion and overlap. What unfolds is a field of potentiality, where contradictions are able to coexist.
Light exceeds its role as a vehicle of visibility. It operates through diffraction, breaking apart the apparent unity of the world. Chitti uses light to reveal that what appears as a seemingly continuous wave is composed of diverse particles and fragments that move, intersect, and refract through one another. His practice thus becomes a form of speculative world-building that does not seek a definitive resolution, but foregrounds processes that remain perpetually open.
The world constructed within this work branches and overlaps like a work of speculative fiction with no fixed point of origin, slowly forming from fragments of myth, personal memory, belief, and entangled imagination. In such a world, no single master narrative dominates; instead, multiple narratives unfold simultaneously without the need to converge into a unified whole. This logic echoes the quantum condition, where reality takes shape through the conditions of its appearance and perception, rather than being predetermined.
This profundity becomes particularly evident in the case of Wat Phra Phutthabat Si Roi. For the artist, this site is more than sacred geography; it emerges as a living repository of knowledge. The superimposed footprints of the four Buddhas embody deep time, where sediments of the past remain embedded and continue to shape the present. The site connects to a wider network of mythologies and ways of seeing that the artist traces through his journeys.
As distance is compressed through contemporary technologies, travel moves beyond a simple movement across space and becomes a passage through layers of time. The question thus shifts from one of location to an experience of temporality itself. Travel emerges as a traversal of entangled temporalities, where distant pasts and the present moment intersect in continuous dialogue.
Epilogue: A Diffraction Grating opens the world as something still in the process of formation through the diffraction of light, narrative, and perception. Time here unfolds across multiple directions, scattering, overlapping, and looping back to reconnect—remaining in constant motion and open to ongoing interpretation." — Pathompong Manakitsomboon
Epilogue: A Diffraction Grating is the final rendition of Epilogue : a three-part Interdisciplinary Art Project on Time (2025-2026), which is made possible with generous support from Contemporary Art Promotion Funds, Office of Contemporary Art and Culture, Ministry of Culture.
Credits:
Production
Moving-image and sound : DDMY STUDIO
Drone Pilot : Ratthanawat Yanasarn
Drone Assistant : Nutnaree Fanrueankeaw
Cast : Chinnakrit Inpiban
Piano : Nohn Intaranan
Producer : Pathompong Manakitsomboon
Multitask production : Thakol Khaosa-ad
Ebook, eposter & key visual : Natthorn Tansurat
Leaflet
Gallery Seescape team
Special thanks
Iordanis Kerenidis and Piergiorgio Pepe
Nakorn Pongnoi
Torlarp and Clairy Larpjaroensook
Rirkrit Tiravanija
Chula Chakrapong
Association Phenomenon
Mae Fah Luang Art and Cultural Park, Chiang Rai
Gallery Seescape, Chiang Mai
Naamdee Studio, Chiang Mai
and
Wat Phra Phutthabat Si Roi, Chiang Mai
Official supporters
Contemporary Art Promotion Funds
Office of Contemporary Art and Culture
Ministry of Culture of Thailand
Production
Moving-image and sound : DDMY STUDIO
Drone Pilot : Ratthanawat Yanasarn
Drone Assistant : Nutnaree Fanrueankeaw
Cast : Chinnakrit Inpiban
Piano : Nohn Intaranan
Producer : Pathompong Manakitsomboon
Multitask production : Thakol Khaosa-ad
Ebook, eposter & key visual : Natthorn Tansurat
Leaflet
Gallery Seescape team
Special thanks
Iordanis Kerenidis and Piergiorgio Pepe
Nakorn Pongnoi
Torlarp and Clairy Larpjaroensook
Rirkrit Tiravanija
Chula Chakrapong
Association Phenomenon
Mae Fah Luang Art and Cultural Park, Chiang Rai
Gallery Seescape, Chiang Mai
Naamdee Studio, Chiang Mai
and
Wat Phra Phutthabat Si Roi, Chiang Mai
Official supporters
Contemporary Art Promotion Funds
Office of Contemporary Art and Culture
Ministry of Culture of Thailand
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Ebook
Introduction (bi-lingual, English & Thai) by Pathompong Manakitsomboon Caring for What Matters : On Diffraction and the Making of Worlds by Iordanis Kerenidis with Thai translation by Krittaporn Reungwattanakul Graphics : Natthorn Tansurat Photographs : the artist, otherwise specified |
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