0;c2; is a visual artist and videographer known for a distinct, ethereal aesthetic that often explores themes of nature, human connection, and surrealism. 0;92;0;a3; 0;ea;0;79;0;a3; 0;baf;0;d4; 🎨 Creative Philosophy 0;3b8;0;420;
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| Title (Year) | Medium / Duration | Summary & Analysis | |--------------|-------------------|----------------------| | Skin Tones (2018) | Single-channel video, 6 min | The artist applies different layers of foundation to match a color chart, then repeatedly wipes it off. The work critiques the impossibility of “perfect” skin and the racialized undertones of Thai beauty standards (pale skin as ideal). | | How to Be a Lovely Woman (2019) | Found footage + original performance, 4 min | Oki re-edits a 1960s Thai etiquette film for women, inserting modern captions and her own deadpan gestures. The work contrasts past and present pressures for female docility. | | Likes Before Bed (2021) | Vertical video (social media format), looped | A close-up of the artist’s face lit by a phone screen, as she scrolls, double-taps, and smiles on command. The piece mimics a live video ad but reveals the exhaustion behind performative positivity. | | Gloss (2022) | HD video, 8 min | A slow-motion study of lip gloss being applied, smeared, and removed. The sound of sticky clicks and tube squeezes becomes rhythmic, highlighting the fetishization of female orifices and packaging. | 0;c2; is a visual artist and videographer known
Years later, Areeya received a package from a woman who’d seen the film in a hospital waiting room. Inside was a folded handkerchief and a note: “Your images kept me company during the nights my father was sick. Thank you.” Areeya placed the handkerchief in a drawer marked with other small tokens and paused. She had never intended her work to be consolation, but she understood now that attention could be a kind of care itself. | | How to Be a Lovely Woman
Oki’s video portfolio is defined by several recurring elements that distinguish her from her contemporaries: Cultural Reimagining
Her camera was a second heart. It balanced on an old tripod with a cracked leather handle, a thrift-store find painted in the margins of her life. Areeya lived in a narrow apartment above a noodle shop, where steam and the smell of soy became the soundtrack to late-night edits. Clients called her a “video artist” and sometimes “a documentarian,” but she resisted labels. For her, video work was a way to ask questions the rest of the world moved past: How do people carry themselves after a loss? What trades a face in the dim light of a train station? What does an empty chair sound like?