Exhibition: Real-time, Really? เวลาจริ๊งจริง
SiamANIMA in collaboration with Eyedropper Fill
Step into an exhibition that digs deep into the roots and essence of animation—breaking free from the screen and inviting you into immersive installations and interactive experiences far from traditional cinema.
The exhibition is coming to life with the help of Eyedropper Fill, the team of acclaimed Thai experimental artists behind the heartwarming project HOMECOMING in collaboration with Nat Setthana, a Bangkok-based art practitioner with a focus on the ‘situationness’ of the medium. Now, they lead us toward a new world of animation.
This showcase bridges audiences with the creative visions of Asian artists including Fukumi Nakazawa (Japan), TSAI Yi-Chin (Taiwan), Nawin Nuthong (Thailand), Chanya Hetayothin (Thailand), and Thanut Rujitanont (Thailand). Experience animation that transcends storytelling—where sight, sound, and emotion converge.
Exhibition design by Nat Setthana
นิทรรศการที่ชวนทุกคนขุดค้นไปถึงรากและแก่นแท้ของแอนิเมชัน หลุดออกจากกรอบจอ ไปสู่ประสบการณ์แบบที่ทำงานกับพื้นที่แบบ Installation ที่มีรสชาติของการมีส่วนร่วมแตกต่างจากการรับชมในโรงภาพยนตร์
ครั้งนี้ Eyedropper Fill กลุ่มศิลปินไทยผู้มีแนวทางการทดลองอันเป็นเอกลักษณ์ เคยพาหัวใจผู้ชมเดินทางกลับบ้านมาแล้วใน HOMECOMING มารับหน้าที่ดูแลนิทรรศการครั้งนี้ โดยมี Nat Setthana ศิลปินมากความสามารถ เป็นผู้คุมการออกแบบนิทรรศการและพาเราออกเดินทางไปสู่โลกใหม่ของแอนิเมชัน ที่หลุดกรอบไปได้มากกว่าเดิม
พร้อมทั้งพาทุกคนเชื่อมโยงกับโลกของแอนิเมชันผ่านผลงานและมุมมองของศิลปินเอเชียหลากหลายประเทศ ได้แก่ Fukumi Nakazawa (ญี่ปุ่น), TSAI Yi-Chin (ไต้หวัน), นวิน หนูทอง, ชัญญา เหตะโยธิน และธนัตถ์ รุจิตานนท์ ร่วมสัมผัสแอนิเมชันที่ขยายขอบเขตของการเล่าเรื่อง ซึ่งผสมผสานทั้งภาพ เสียง และความรู้สึกไว้ในที่เดียว
ออกแบบนิทรรศการโดย ณัท เศรษฐ์ธนา
Eyedropper Fill
Eyedropper Fill is an experience designer using skillsets and expertise in design to create experiences that help build empathy in our society as an essential foundation for coexistence based on diversity. Our works result in flexible, indefinite, and unlimited forms of documentary films, exhibitions, interactive installations, and more.
อายดรอปเปอร์ ฟิลล์ คือ นักออกแบบประสบการณ์ ที่ใช้ทักษะและความรู้ในงานออกแบบ เพื่อสร้างประสบการณ์ที่ทำให้ผู้คนในสังคมมีความเห็นอกเห็นใจ ซึ่งเป็นพื้นฐานสำคัญในการอยู่ร่วมกันบนความแตกต่างหลากหลาย โดยงานของเราอยู่ในรูปแบบที่ยืดหยุ่น ไม่ตายตัว ไร้ขีดจำกัด ไม่ว่าจะเป็น ภาพยนตร์สารคดี นิทรรศการ ศิลปะจัดวางเชิงปฏิสัมพันธ์ ฯลฯ
Nat Setthana is a Bangkok-based art practitioner. His practice involves experimenting with photographic and moving image installations, with a focus on the ‘situationness’ of the medium.
ณัท เศรษฐ์ธนา เป็นนักปฏิบัติการทางศิลปะที่อาศัยอยู่ในกรุงเทพฯ ผลงานของเขาเน้นการทดลองกับการจัดวางภาพถ่ายและภาพเคลื่อนไหว โดยให้ความสำคัญกับ ความเป็นสถานการณ์ ของสื่อศิลปะดังกล่าว
Exhibition Designer’s Statement
Supposing that reality is not something that exists independently, but rather a sum of relations among
various objects—each with its own reality—real time is not something universal but relative.
Real Time, Really? speculates on the real time in animation through its materiality. The exhibition pieces together other real times that the animator brings into being, frame by frame.
หากว่าความเป็นจริงไม่ใช่สิ่งที่ดำรงอยู่อย่างโดด ๆ แต่เป็นผลรวมของชุดความสัมพันธ์ระหว่างวัตถุต่าง ๆ โดยแต่ละสิ่งมีความเป็นจริงในตัวมันเอง เวลาจริงจะไม่ใช่สิ่งสากล แต่เป็นสิ่งสัมพัทธ์ซึ่งผันแปรตามบริบท นิทรรศการ เวลาจริ๊งจริง ครุ่นคิดถึงเวลาจริงในสื่อแอนิเมชันและกายภาพของมัน นำเสนอเวลาจริงอื่น ๆ ที่แอนิเมเตอร์กอปรขึ้นเฟรมต่อเฟรม
Full Exhibition Designer’s Statement
By Nat Setthana
Real-time, Really?
เวลาจริ๊งจริง
Keyword: speculative time / imaginative time / real-time
Real-time refers to the unceasing flow of time that corresponds to the actual duration of an unfolding
event. In animation, however, real-time is structured by a sequence of still images and measured in frames per second. This temporal structure makes real-time relative, differing in both rate and resolution. A low frame rate provides time in low resolution, resulting in a jerky event, while a high frame rate renders the event more smoothly. Flowing seemingly from one second to the next, from one frame to another, the
flickering of static images projects the illusion of movement, breathing life into an inanimate object through the mechanical continuity of vision.
This might seem to suggest that real-time in animation is purely ocular-centric. Nevertheless, there is
always an interval between one still image and the next—the absence. This blackout is a point of transition, where the motion picture—often perceived as a visual continuum—briefly disappears from view. It is also a potential space where possibilities linger. In invisible frames yet to be added, the consequences of the images have not yet been resolved, suspended in uncertainty like lottery numbers that have not yet been drawn. It is the moment before darkness turns to light, before the transparent becomes opaque, before uncertainty collapses into certainty.
Those invisible frames constitute the potential for change, where animators’ imagination intervenes
in the sequence of real-time, conjuring it with the image of desire. Such an imaginative act of animation—the vivid desire to make visible a world visible yet to be made real—is, perhaps, more real than the reality we are all given and subject to.
Artists’ Profile
Nawin Nuthong
a Thai contemporary artist and curator exploring the connections between history
and cultural media through a wide range of mediums. Melding myths and legends
with pop-cultural references from video games, comics, and film, he examines the role
technology has to play in reconfiguring the learning and understanding of history.
Title SHRINK, the leaf.
Work theme history, myths, fiction, game archeology, moving-image
Concept SHRINK, the leaf. is an installation that wish to explore the notion of cognitive history
by the stretching of projection ,monitor and object that glittering with animated pixel.gif
as a poetic shrink scale that left the little leaf at its tail.
Juxtapozing Frame, pixels, objects, express of curiosities and hope in political in the specific times
As a resource that waits for re-formulation of our understanding of human history through a multiversal lens.
This installation, featuring the animated pixel.gif “2 sec before revolution in a leaf,” is an exploration of what I call “Half-leaf Democracy,” a term scholars use to describe Thai politics from 1980 to 2025. In this period, and particularly now in 2025, we have a government where different political ideologies—conservative, liberal, and militant—share power. This is a crucial point, as it shows how political parties that once symbolized clear ideologies have lost their original meaning and purpose.
My interest is in that leaf, but as an object. More than a metaphor, it is a physical form made to resemble a pixelated.
Chanya hetayothin
Chanya Hetayothin is a Thai animation artist whose personal work explores themes such as the biological worlds of non-human subjects and the Post-Anthropocene. For over a decade, she has also shared her expertise as a lecturer in animation. She is currently a faculty member in the Department of Visual Arts, Faculty of Fine and Applied Arts, Chulalongkorn University.
Title Mycelial Reverie
Work theme Exploration of non-human subjects within micro and macrocosmic scales.
Concept An abstract journey through the meditative rhythm of fungi, where decay becomes a gesture toward a new beginning.
Reflecting on my life’s journey, I have come to see that states of decline—whether in physicality, hope, social expectations, or relationships—can sometimes lead to new beginnings. This, I believe, is a fundamental nature of things. I find a parallel in the life cycle of fungi, where decay is not an end, but rather a transition into regeneration.
How do we perceive those particular moments of deterioration? Often, they are accompanied by uncertainty, vagueness, and insecurity. In the midst of decline, it can be difficult to recognize its transformative potential. Can we truly see how these experiences, over time, might beautifully unfold into new life?
Mycelial Reverie is an attempt to express this concept through abstract animation—an invitation to meditate on decay not as destruction, but as a gesture toward renewal.
Fukumi Nakazawa
Graduated from Kyoto University of Arts Oil Painting Course in 2019, and entered the Master’s Animation Course at Estonian Academy of Arts in 2020. In recent years, she has participated in several film festivals.
Title Recess of Twin Rings, Nested Skin
Work theme interested in mass and time , the difference between images in a screening room and exhibition space.
Concept Tools are often said to be “extensions of the body,” but with the tremendous development of modern technology, it seems that tools and the body have become separated and are being used by tools. The animated drawings are all glued together, and these humans make us feel pain in our modern bodies, which are unnaturally bent to conform to society.
Thanut Rujitanont
Thanut Rujitanont, a Thai artist, founded Graphy Animation, an independent studio, in 2021. His artistic practice contemplatively explores themes of temporality and change through the medium of animation. He graduated from the Re:Anima Erasmus Mundus Joint Master’s Program in Animation and is currently a PhD candidate at Griffith Film School in Brisbane, Australia.
Title In Frames, We Wander
Work theme interested in mass and time, the difference between images in a screening room and exhibition space.
Concept Time and progression are often perceived as lines, yet they can be scattered, fragmented, and manifold depending on justifications. This work approaches the animation process as both an investigative and expressive act, focusing on its potential to reveal the animator’s internal rhythms and their relationship to movement captured from life.
In Frames, We Wander is a time-based collection of kinetic force, both within and extending outward from mark-making drawn from life—where the past, present, and future are perceived as potential in motion.