Gabriel Camelin - Video and Photography (2025)

10/09/2025

On a Sunday morning, I headed toward Lat Phrao to meet Bee Pitiya Anantaprut . We’d known each other for years on Facebook, but had only met in person a few months ago when I saw her band, Srisawaard perform at Sonthaya, near Phra Athit Roard. At her house, she led me to one of her rooms, where she practices and stores her music equipment and after a quick introduction, we started shooting. In a rush to get to a video recording session with her band, we grabbed a few shots outside her gated community before hitting the road.

During the drive, she opened up about her journey: she started learning bass seriously six years ago and later formed a reggae band with fellow learners. For Srisawaard, she is not just the bassist but also a songwriter. While she works selling clothes online and plays bass for WhatFalse, Srisawaard is her passion project; she even designed the logo and T-shirts, celebrating her love for cats. The band’s name itself is a pun on the famous Korat cat.

Near the airport, she took me to a house-turned-studio called Sound Comedy. Surrounded by mixers and '90s decoration, I hadn’t expected a place like this. Soon enough, she introduced me to the rest of the band as they arrived. Between their setups, I managed to take a few portraits of Bee, and then a few of the whole band before they locked themselves in to start their recording session. On the ride home, I couldn’t help but think… maybe it’s time I learned bass.

09/09/2025

Here’s a small commission for Scott Wilson, a wonderful composer from Birmingham whom I met through Jean-David Caillouet and the PGVIM symposium he often performs at. Scott works in instrumental and electroacoustic music and is also a professor at the University of Birmingham. He frequently visits the region to give classes and workshops, as well as perform in various venues. Many thanks to Bangkok Kunsthalle for letting us use the venue and to Thapanat Ryan Ogaslert for helping us during the shoot.

01/09/2025

Last week, I took a late-afternoon taxi to meet Meen, a singer-songwriter performing under the name Nixsa. I had never met her in person before, and as usual, I felt a bit nervous on the way. But the moment I crossed the threshold of her home, I immediately felt in a good-vibe zone.

With a contagious smile, Meen first showed me around, where I met Jipi, her boyfriend, a musician and music producer. Their house is filled with musical instruments, many from Southeast Asia and India, which they both play. I was also greeted… and softly bitten, by her cat Sonic (no butt scratching allowed!). Meen took me upstairs and showed me a Hermit’s head, a symbol of teacher lineage for artists and performers. While we chatted in her small studio, she shared some of the cyanotypes she created for Moon Guru, one of her music video projects.

Through our conversation, Meen shared with me about her architecture degree and how she eventually transitioned to music, a passion that had captivated her since high school. Coming from Chiang Mai, her father was a Lanna language teacher, and she also learned traditional music, which she now incorporates into her compositions, even though Nixsa’s music is more contemporary. Before starting her solo career a few years ago, she played trumpet and violin for Hope the Flowers. She continues to support other musicians, but her work under Nixsa has been gaining recognition, especially with Uthaipia alongside CEA Brand the band, blending ambient/electronic textures with indigenous Thai folk influences in a live music video performance, as well as her performance at Wonderfruit last year.

After finishing upstairs, we peeked into Jipi’s studio, where he was busy with commercial projects. We continued our conversation there; they had recently collaborated at a Greasy Cafe concert, with Jipi directing the mini-stage and performing alongside Meen on multiple instruments. As a couple of musicians, they often collaborate, and their house interior reflects that: Meen and Jipi sometimes can’t even tell who decorated what! After I took my last shots of them, we went out for dinner to celebrate what felt like the beginning of a new friendship.

16/08/2025

🇬🇧 I finally spent some time with my brother after six years. Living in Ariège, Maxence is a musician, so summers are his busiest period, constantly on the road and playing in multiple bands. As a roadie, he even converted a work van into a house on wheels, where he stores his equipment and can sleep.
It was wonderful to see him again. Despite his tiredness, we had time to reconnect. He took me to a festival with his girlfriend Naëlle, where we caught an incredible performance by Bal Crade (a mix of punk, French traditional music, and pyrotechnics!)
Our lives couldn’t be more different, and it was refreshing to experience his world. I took his portrait in his current house, which he’ll be leaving for a new place this September. There, he has a studio he plans to upgrade, focusing more on production and potentially launching a solo project.
Thanks for everything, bro ;)

🇫🇷 J’ai enfin passé du temps avec mon frère après six ans. Vivant en Ariège, Maxence est musicien, donc l’été est sa période la plus chargée, toujours sur la route et jouant dans plusieurs groupes. En tant que roadie, il a même transformé une camionnette de travail en maison sur roues, où il range son matériel et peut dormir.
C’était un vrai plaisir de le revoir. Malgré sa fatigue, nous avons pu nous reconnecter. Il m’a emmené à un festival avec sa compagne Naëlle, où nous avons assisté à une performance incroyable de Bal Crade (un mélange de punk, de musique trad' et de pyrotechnie!)
Nos vies sont complètement différentes, et c’était enrichissant de découvrir son univers. J’ai pris son portrait dans sa maison actuelle, qu’il quittera pour un nouveau lieu en septembre. Il y a son studio qu’il prévoit d’améliorer, pour se concentrer davantage sur la production et potentiellement lancer un projet solo.
Merci pour tout, frérot ;)

06/08/2025

A few years before Covid, I loved hanging out at the now-defunct Soul Bar, a place with a great vibe in what’s now a more gentrified part of town. It was here that I first met My. As the lead singer of Supergoods, she performed there weekly, singing Soul and R&B, supported by a lively crowd. She founded the band with classmates from Silpakorn University’s Faculty of Music. Fast forward to 2025, Soul Bar is gone, but Supergoods is still going strong! They recently held a listening party for their upcoming album, and I had the chance to direct their first music video last month (a project currently in post-production).

Before the shoot, I wanted to learn more about My’s personality and brief her on the character she would portray in the video. I also saw that opportunity to include her in my portrait series. As with everyone I work with, I let them choose the location for the shoot. My picked her apartment, which she shares with her partner.

My graduated in 2014 with a degree in Jazz Studies. She’s not just a talented singer, she also teaches at Mahidol University and offers private vocal coaching. Her apartment was filled with vinyl records and plants, two of My’s favorite things. As we discussed the two characters she would play in the music video (a burned-out singer and an idealized fairytale pop star, we both realized that the concept of the video closely mirrored some of her own experience: balancing burnout and existential doubt with the desire to cheer someone on and show them that they can make it.

Making a living as a musician in Thailand isn’t easy, especially if you’re not playing covers or working in the underground scene. Despite that, I had the chance to meet or work with very talented people there, like My. Fortunately for her and her band, Supergoods talent might pay back. They had a great opportunity with this new album, which I was grateful to be part of it!

05/08/2025

I first met Oat Montien while working on a video installation in Patpong during the summer of 2022. He was doing a residency there, researching the district’s gay and sex-worker histories, which culminated in an exhibition of pastel and graphite works dedicated to the boys of Soi Twilight.

For the shoot, Oat invited us to Baik Baik, his restaurant and home, where he also opened Boddhisattava Gallery in 2020, a gallery focused exclusively on Southeast Asian LGBTQ+ artists. On that day, Oat was still mentally recovering from his participation in The Voice Pride 2025, where he performed in drag as Mimosa Jazz. After confronting a judge on set, his social media was flooded with threats and insults, which took a toll on his mental health.

Despite a busy year, with exhibitions at Bangkok Kunsthalle and preparations for the Bangkok Biennale, Oat made time for our shoot. After a lovely meal and some oracle cards, he showed us around, introducing us to two of his cats. In his wardrobe, he revealed the infamous Mimosa Jazz dress, which he wore during his opening performance, singing Diamonds Are a Girl’s Best Friend. In another room, he shared his studio, where he paints most of his subjects who visit. Nearby was an old spotlight, which Oat used for his models and once operated at his mother’s bar when he was a child. This object is more than a prop; it is part of Oat’s past, which is ever-present in his work, from his complex relationship with his father to his childhood experience helping his mother run a bar-brothel, a theme he explored last year in his exhibition at JWD Art Space. As we left, Oat was preparing a watch party for his team to celebrate his last The Voice performance. With that chapter closing, he was already turning his attention to new projects. The show must go on!

Kudos to Liz for supporting me during the shoot. Her conversation with Oat during the shoot inspired me, and also helped him open up more. It was a new experience for me as I am used to working alone, and it wouldn’t be the same without her.

04/08/2025

Here is my second portrait, I took at the Roc-Castel festival, a celebration of slow travel, which invites individuals to share their journeys, offering a space for stories about exploration and connection. This year, Felix Vaumourin was invited to present his journey, which began in 2015. He built and pulled a tiny house-on-wheels called Caracole to explore nomadism and minimalist living. In April 2015, he set out from Nantes, France, with the goal of reaching Moscow via Athens, travelling on foot for two years and eight months across Europe. He pushed a 60 kg cart, averaging 20 km a day. Once in Moscow, he continued eastward, travelling to Japan and later cycling from Vietnam to Myanmar with a bamboo house. Felix returned to France in spring 2023 after eight years on the road.
His journey was driven by the desire to embrace a universal slowness that would make him more accessible, allowing him to easily stop and engage with strangers. During the festival, he presented his book Récits épistolaires d’un périple caracolesque, where he describes his journey as a “petit bout de vie,” a slice of life.
Here is my second portrait, which I took at the Roc-Castel festival, a celebration of slow travel, inviting individuals to share their journeys and offering a space for stories about exploration and connection.
This year, Felix Vaumourin was invited to present his journey, which began in 2015. He built and pulled a tiny house-on-wheels called Caracole to explore nomadism and minimalist living. In April 2015, he set out from Nantes, France, with the goal of reaching Moscow via Athens, travelling on foot for two years and eight months across Europe. He pushed a 60 kg cart, averaging 20 km a day. Once in Moscow, he continued eastward, travelling to Japan and later cycling from Vietnam to Myanmar with a bamboo house. Felix returned to France in spring 2023 after eight years on the road. road.

03/08/2025

Every summer when I return home, I make it a point to volunteer at the Roc-Castel festival in Le Caylar, a small town in the south of France. I always look forward to this festival, which is dedicated to the spirit of slow travel. It’s a chance to meet people who might be cycling around the world or walking across France with their donkeys, for instance. For me, it’s a way of travelling by proxy, experiencing the challenges and hearing the unique stories of others. The festival provides a platform for films and talks, which is how I met "Vieux Néon" (Old Neon in French), the stage name of Lionel Epaillard, an author, poet, actor, and musician. He chose the name, saying, “Just as old neon lights the world, flickering but without pretension.”
I had heard about him during the festival, as his journey seemed the most unique. First, Lionel modified a wheelbarrow to carry his belongings, including theatre props and his notebook for writing. In April 2024, he began pushing his wheelbarrow on a 215-km walk from the town of Angoisse ("Anxiety" in French) to a hamlet called La Joie ("Joy"). His goal was simple: to “catch up with joy that’s running away and reject the fears we’re constantly fed.” This journey was, in part, a response to the difficult political climate in France.
Along the way, Lionel met locals, performing 40-minute shows in village halls and community spaces. He also collected and delivered letters from strangers to strangers, hoping to spark connections and conversations. The festival featured the film 'Un Voyage en Brouette', which documented his incredible journey.
Thank you to the Roc-Castel team for organising such an inspiring festival, I wish one day too, I could have a story to tell.

31/07/2025

I met Parinot Kunakornwong over a decade ago, when he was playing bass guitar in his band Cuckoo. I later discovered that he was also a multimedia artist, working across drawing, installation, and various hybrid practices. His art often transforms found and site-responsive materials into sculptures, installations, or drawings, exploring themes of identity, gender, memory, and political structure.
When he invited me to his studio, I expected something smaller and more conventional. Instead, I found myself entering a vast, multi-story space from a bygone era. Located near Pratunam, he had converted his family’s former garment factory into his living quarters, art storage, studio, and installation site. �Parinot led me through the labyrinth-like building to a floor where he had set up his current installation, The Masses, an ongoing series of sculptures developed from his Instagram practice of posting found objects daily. The installation felt surreal in this time-capsule-like space, where remnants of the factory, old phones, work tables, and signage still remained.
Back on the ground floor, we sat for coffee at a large lazy Susan, one of those Chinese round tables made for shared meals. Just behind us, his mother’s office was still in operation, while nearby, Parinot kept works from his recent residency in Tokyo. I took my final portrait there, in front of the spirit house, where we said our goodbyes before he lowered the storefront gate.

03/07/2025

At the first edition of Ghost 2561 (Ghost2568) in 2018, I was drawn to a curious video installation titled ‘Golden Spiral’, combining golden snail sculptures with a short film that blended documentary aesthetics with beauty product advertising. It wasn’t the first time I’d seen Chulayarnnon Siriphol’s work, but this piece left a strong impression. When I finally met him in person, while coordinating one of his classes at my former workplace, I was struck by his quiet and reserved, almost Buster Keaton-like presence at first glance, so different from the bold and playful spirit that runs through much of his art.
I contacted him recently for my portrait series, just before he opened his solo exhibition ‘I a Pixel, We the People’ at BANGKOK CITYCITY GALLERY. I photographed him there, surrounded by mounds of clothes, family relics, and of course, the infamous golden snail. The show remixes two decades of short films, home videos, and archival material into an immersive video cavern—looping screens, domestic clutter, and a single pixel reimagined as a symbol of resistance. Chulayarnnon, a self-proclaimed hoarder, collects not just objects but memories, reworking them into layered, often surreal narratives. The exhibition culminated in a 24-hour video marathon of all 24 one-hour episodes during the opening day.
A few weeks later, he invited me to continue the shoot at his home. After coffee, he showed me his studio, where I spotted paint-splattered boxing gloves from ‘Red Eagle Sangmorakot: No More Hero In His Story,’ a recent Bacc หอศิลปวัฒนธรรมแห่งกรุงเทพมหานคร, as well as other objects, including posters of his previous films and exhibitions. He doesn’t just direct, he often appears in his movies under various personas. One of his most memorable characters is Kirati, based on ‘Behind the Painting’, a character he reimagined across two films and an exhibition. I photographed him as Kirati, standing before a hand-painted backdrop from the project.
We ended the session upstairs at his editing station, facing a shelf packed with art books, political ephemera, religious relics, toys, and souvenirs, a constant source of inspiration in almost all his work. He sat at the centre of it all in a Thai Boy Scout uniform from ‘How to Explain “Monument to the Fourth International” to the Dead Golden Snail’, holding the same handycam he had used as a student. In that moment, with all these objects right behind him, I felt that the room itself offered a kind of mirror, a condensed summary of who Chulayarnnon is and what art represents.

09/06/2025

At the first Wonderfruit Festival in 2014, I stumbled into a curious performance where mysterious and trained performers invited the audience to share their secrets. I didn’t realise at the time that I was participating in “Secret Keepers”, a performance by Dujdao Vadhanapakorn.
A core member of B-floor, my favourite theatre group in Thailand, Dujdao is also an art therapist specialising in dance movement therapy. Over the years, she has seamlessly moved between roles as a performance artist, actress, and therapist. In 2020, she founded Empathy Sauce, a holistic mental wellness and communication lab under the SoulSmith brand (Soulsmith by Empathy Sauce), offering workshops and therapy sessions.
Though she performs less frequently now to focus on her therapy practice, she recently relocated both her office and apartment to a townhouse by the river, right next to IconSiam. The ground floor houses her café, the middle floor is her therapy and workshop space, and her apartment sits at the top. The view is unexpectedly calming—her windows overlook an empty lot overtaken by nature that I found myself quietly admiring over a cup of coffee.
After a moment in the blue room where she holds her therapy sessions, Dujdao took me upstairs to her apartment, where I was warmly welcomed by her two roommates, Stout and Pale Ale, who happily joined the shoot.
As we wrapped, I asked if it was possible to access the jungle to photograph the house from the other side. She had never explored it herself, but we went together. That overgrown lot became the setting for our final shots of the day. Then, we both put on our helmets and waited for our GrabBikes—mine to head home, hers to catch a performance.

08/06/2025

Jay (Jay Vatanakuljaras) is a master of both sound and visuals. An audio/visual designer and artist, and one of the founding members of the post-rock band JPBS, whom I had the chance to photograph last year. I first discovered their music at DIAGE two years ago and was immediately drawn into it. Since then, Jay has launched a solo project under the name Jay V., blending personal storytelling with visuals created in collaboration with DuckUnit. He performed this piece at DIAGE Festival and again at the BEFF Bangkok Experimental Film Festival this year, creating music narratives based on his family history.
For our shoot, Jay invited me to his family home on the other side of the river—a spacious house originally bought by his grandfather, now shared with his parents and siblings. I was struck by how minimal the space was; Jay explained that his mother dislikes clutter and avoids hoarding—something relatively uncommon in Southeast Asia.
As we chatted during the session, Jay recounted the early days of JPBS, which he started with a university friend in 2012. He spoke about the challenges of balancing the band’s growing success with the reality of six members juggling full-time jobs, making touring especially difficult.
While giving me a tour of the house, Jay pointed out an unusual structure embedded in the ceiling, a sort of grid system he described as a "CCTV ancestor,". Jay believes it was once used to discreetly monitor the ground floor from upstairs. That same grid pattern later inspired the visuals for his solo work, even appearing on the album cover. I knew immediately it had to be part of the portrait series.

Gabriel Camelin - Video and Photography

10/09/2025

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01/09/2025

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06/08/2025

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