Bangkok Dreamscapes approaches the contemporary city as a space where visual seduction, abstraction, and systemic control become increasingly difficult to separate. Through layered compositions, distortions and unstable perspectives, Bangkok appears less as a documentary subject than as a psychological and architectural field—at once dazzling, disorienting and faintly oppressive. Buildings multiply, surfaces fracture, and urban space seems to fold in on itself, producing images suspended between dream, system, and hallucination.
An important conceptual thread behind the series is Yevgeny Zamyatin’s novel We, with its vision of a hyper-rationalized society shaped by geometry, repetition, transparency, and control. That atmosphere resonates here not as illustration, but as an underlying structure of feeling. In these images, architecture no longer simply frames life; it begins to regulate perception itself. Symmetry, spatial excess, and visual repetition suggest a world in which the human subject risks being absorbed by the very systems it has constructed—systems that promise order and efficiency while quietly generating estrangement.
Rather than portraying Bangkok through its familiar iconography, the series transforms it into a dreamlike urban fiction: a metropolis of dazzling surfaces, fractured grids, and latent unease. The city becomes at once seductive and unreadable, expanding beyond the scale of lived experience and approaching a kind of autonomous visual logic. What emerges is not a portrait of Bangkok in documentary terms, but a meditation on contemporary urban life and its proximity to dystopian imagination. The work reflects on the fragile boundary between fascination and alienation, asking how cities shape not only the way we move through them, but also the way we see, imagine, and inhabit reality.
