The Star’s Discourse
2012
The 11 September 2001 terrorist attacks marked a turning point that prompted Tawatchai to begin questioning his personal perspective on global political affairs. He found himself caught in the middle between supporters and dissenters. Before the debris of loss could even be cleared away, scholars and experts were already energetically analysing the recent events—particularly within the field of international relations. The dissenting side viewed the attacks as the consequence of decades of unjust actions by the United States government, while the supporters called for a hardline response to eliminate terrorist groups.
Those around him seemed to have firmly taken one side or the other, to the extent that it could be said each had reasons deeply rooted in fundamentally different ideological viewpoints.
As a result, Tawatchai turned to study in detail seven major violent incidents since the post–Second World War period, in search of the underlying implications of the roles played by the United States and its allies. Through his examination of historical events, he came to realise that the image of a “superpower nation” is, in truth, no different from that of ordinary human beings—that is to say, neither the flawless ideal admired by supporters, nor the entirely malevolent force condemned by critics.
When considering the reality of social conditions, debates surrounding the dynamics of superpower status seem often to be grounded in subjectivity. The perception of facts relating to various violent incidents tends to be interpreted differently depending on each individual’s belief system and the way it has been shaped. Tawatchai describes this as akin to a “personal information receiver”—something that does not exist or operate independently but is rather the result of a shaping process influenced by both external factors (such as the media) and internal ones (such as critical thinking skills). It is precisely this variance in personal receivers that gives rise to a multitude of interpretations of what is considered truth.
This phenomenon aptly reflects the context of the postmodern world. The advancement of information and communication technology has made the spread of data increasingly seamless. Since the latter half of the 20th century, the concept of the “Free World” has been an ideology primarily produced and exported by the United States—as the dominant superpower—alongside its European allies. This has been disseminated globally through entertainment media and propaganda, subtly embedded with the purpose of opposing socialism.
An understanding of the nature of perception led Tawatchai to believe that he need not take a firm stance on either side of the debate. He recognised that both sides possessed their own reasoning—each with strengths and weaknesses that could be endlessly contested. Moreover, the viewpoints of all parties were shaped within the same environment: one heavily influenced by the perspectives promoted by Western media. Everyone, in essence, becomes an equal “victim” of global propaganda. Thus, any form of evaluation is almost impossible to make without being coloured by such bias.
Given that these conclusions emerged from his study of seven violent historical events, The Star’s Discourse comprises seven artworks that the artist regards as “memorials” to those incidents. They are memories permanently inscribed on canvas—intended as enduring reminders, to be recalled again and again, of truths that have been distorted.
Black Santa Claus: Killing culture on righteousness, 2011
Oil on linen
180 × 200 cm
Santa’s Bomb: Bloody gift from the man of justice, 2011
Oil on linen
180 × 200 cm
Tank of Mercy: Combating violence with violence, 2011
Oil on linen
200 × 340 cm
Santa’s Secret Agenda: When Generosity Masks Power
The familiar image of Santa Claus as a kind old man dressed in red and white robes, riding a reindeer-drawn sleigh and aided by elves who craft toys, is a construct of the Western world. The iconography of Santa Claus was firmly established through literature in the late 19th century, before being appropriated for commercial advertising in the early 20th century. From the post–Second World War period onwards, this image was further popularised to the point where it can now be seen as one of the many cultural products born out of the American melting pot.
Tawatchai deliberately deconstructs the role of Santa Claus as a benevolent “giver” and reconfigures it through his own lens, linking the story of Santa to the behaviour of the Free World towards other nations throughout history. Often framed as well-intentioned acts, such interventions, in reality, have frequently masked the pursuit of self-interest.
Thus, the actions of the US government resemble those of Santa Claus—offering (or imposing) gifts upon others without their consent. And those who resist or refuse to cooperate face consequences—ranging from economic sanctions to more extreme measures such as political intervention. This is not unlike how naughty children receive only lumps of coal on Christmas night.
“Black Santa is a symbol of gift-giving to the world in which the giver never asks whether the recipient actually wants the gift,” Tawatchai notes in the exhibition catalogue.
The Star’s Discourse: Lies to the world that never been stopped, 2011
Oil on linen
180 × 200 cm
The Star’s Discourse: Lies to the world that never been stopped, 2011
Oil on linen
200 × 180 cm
Rock & Roll Diplomacy: Elvis and the Empire of Influence
The notion of giving without regard for consent also resonates with the exportation of popular culture as a vehicle for disseminating the ideology of liberal democracy and capitalist economics to the global community. For this body of work, Tawatchai selects a prominent figure known as the “King of Rock and Roll,” Elvis Presley, as the central symbol of this concept.
Elvis Presley played a pivotal role in shaping the culture of rock and roll, presenting his persona through a variety of media—from music, film, and television to his electrifying live performances. As a result, he became a cultural icon for a new generation, not only in the United States but across the globe. Elvis’s role highlights the far-reaching influence of American entertainment media, which succeeded in crafting a form of popular culture that transcended national cultural identities.
The presence of the King in this series is thus highly fitting. Not only does it directly convey the export of American culture, but it also gives tangible form to the idea of domination through media influence. The distinctive silhouette of the young singer, clutching a microphone mid-performance with joyful flair, is presented in vibrant colours reminiscent of mid-20th-century pop art—a cultural movement that itself originated in the United States.
Pink Bomb: Gentle death the world pay gratitude, 2011
Oil on linen
200 × 180 cm
Elvis’s Bomb: The entertainment of destruction, 2011
Oil on linen
200 × 180 cm
Explosive Truths: When Media Becomes a Weapon
If the dark silhouettes of Santa Claus and Elvis against chaotic backdrops serve to conceal hidden agendas beneath a veil of ambiguity, then the image of bombs in this series lays bare those very agendas in plain sight. They function as an exposé—an unveiling of structure—reflecting the mechanisms through which influence spreads outward from within, often beginning with entertainment media or the guise of benevolent giving.
Through the symbolism of the bomb, one might interpret that no matter how far-reaching the spread of popular media may be, it still pales in comparison to the sheer force with which it impacts people’s ways of thinking. The explosion metaphorically shatters individual perceptual filters, leaving confusion in its wake and eventually fostering apathy toward truth.
This body of work thus resembles a captivating advertisement—visually striking and seemingly benign—yet beneath its alluring surface lies a narrative about an intangible “product” that nevertheless exerts powerful effects on its audience’s worldview. It mirrors the gifts and entertainment bestowed upon the global public by the world’s great powers.