Kanich Khajohnsri's practice consistently delves into the complex interplay of space, demarcation, and overlap. His artistic inquiry is deeply rooted in his perceptive observations of Bangkok's urban fabric, where he illuminates the profound ambiguity that arises when private interests and ownership begin to permeate and blur with traditionally public domains.
ARTIST BIO
Bangkok-based artist Kanich Khajohnsri (b.1993), an alumnus of King Mongkut’s Institute of Technology Ladkrabang’s Fine Arts department (2016), garnered early recognition with the Young Thai Artists Award for Photography in the same year. His work has been exhibited internationally in Thailand and Germany. Most recently, Khajohnsri undertook a significant public art commission in Belfast: POSSESSION (2024). This temporary installation, integrating sound, photography, and sculpture, was situated within the historic Palm House in Botanic Gardens. The project was commissioned by Household and Belfast City Council, with support from the British Council.
Above: HAND, 2025, Kanich Khajohnsri, Inkjet on paper with custom black wood box frame with Artglass (Anti-reflective/UV protection), 45 × 32.5 cm
Top left: Area-Transform, 2017, Kanich Khajohnsri, Bangkok Art & Culture Centre, Bangkok, Thailand.
This core fascination with ambiguous space drives Khajohnsri's work. He explores not only how these contested configurations are structurally defined by urban planning and societal norms but also, crucially, how they are experientially perceived by individuals navigating them.
POSSESSION, (Installation shot) Kanich Khajohnsri, 2024, Palm House, Botanic Gardens, Belfast. Photo: Simon Mills
His art invites viewers to consider the subtle yet significant shifts in meaning and function when the boundaries between public and private erode, prompting a re-evaluation of our relationship with urban environments and the narratives embedded within them.
The Landscape has eaten by dream (ideal), Kanich Khajohnsri, 2019, A. Farm, Ho Chi Minh City, Vietnam.