In this exhibition in Europe, Krisanamis shows four large scale paintings which continue to draw on his experience of moving to the United States from Thailand several years ago, and in particular his approach to language.
Krisanamis taught himself English by reading the daily newspaper, crossing out all the words he knew with a pencil. As his knowledge of English improved so this disciplined and rather obsessive procedure would reveal a field of black from which only the odd unknown word would stand out. Somewhat paradoxically, the accumulation of knowledge and language is achieved by the process of erasure and obliteration.

The paintings develop precisely from this theme, resulting in work which Roberta Smith, writing for The New York Times locates "at the intersection of being and nothingness." Thousands of words are cut out from newspapers and collaged onto the canvas. A Magic Marker pen is then used to blacken out the surface with the sole exception of the white negative spaces within letters such as 'o' or 'p' leaving an 'all over' abstract image redolent of a night sky or an aerial view of an urban landscape. Up close, the richly textured, gestural looking surface of the paintings recall the collage techniques of Rauschenberg or Johns but the gesturalism here reveals more than just the subjectivity of the artist's technique since the negative spaces also suggest a highly personalised alphabet which the artist has meticuloulsy developed.