This project is not simply photographs of a city; it dismantles the dominant narrative built around it. By refusing the cartographic, touristic gaze inherited from a deeply colonial visual tradition, the work performs a radical decentering: it forsakes the monument for the surface, the center for the margin, the institution for the skin.
Each image interrogates urban corporeality as palimpsest. Concrete, neon, fabric, and bodies become the strata of a non-hegemonic memory, a sensory archive of the subalternities that late capitalist modernity seeks to smooth away. Bangkok is no longer an exoticized object but an acting subject, endowed with its own agency, narrating itself through what it carries on its surface.
The point is no longer to capture or to possess, but to inhabit a co-presence, a porosity between photographer and territory.
Bangkok Skin is, ultimately, a decolonial gesture: returning the city to its own opacity, against every injunction toward Western transparency and legibility.
