In this captivating interview, we delve into the world of photography through the eyes of an artist who has transformed his passion into a unique voice. His journey began in 2012, when a move from Brisbane to Melbourne gave rise to a coffee blog that, beyond reviews, focused on the atmosphere of local spots. It was from this experience that a deep love for photography was born, culminating in the creation of significant projects such as ‘Melbourne Brought Me Here’ and ‘Aperture Brought Me Here’.
Today, his art stands out for its bold use of color and a minimalist vision that transcends traditional urban portraiture. In a crowded context like Bangkok, his work invites us to see beyond the surface, excluding human presence to highlight the geometries and color palettes that define the city. In this conversation, we will explore his creative approach, the influence of color therapy, the importance of zines, and the role of social media in the contemporary world of photography. It’s a journey that is not just about the destination, but about each individual shot that tells a vibrant and personal story.
How did your photography journey begin?
Photography has been with me since I was little, but the true discovery of my passion came about when I relocated from Brisbane to Melbourne in 2012. I used to curate my own coffee blog under the name ‘Friends Told Me So’. It wasn’t so much about reviewing the taste of coffee, but rather to write about the ambiance of the cafés. Photography was a huge part of the project, even with just a compact camera.
When I moved to Melbourne years later, I adapted this project to a travel documentary, ‘Melbourne Brought Me Here’, with a sole purpose of using photographs to convey my experience. My venture into photography truly began when I transitioned from a compact camera to a DSLR. I was able to explore and experiment with various aesthetics of photography, from general candid street photography to night photography. While in Melbourne, I had the opportunity to connect with numerous photographers, but Suzanne Phoenix had the most significant influence on my current approach to photography. She is a versatile photographer with a passion for capturing the extraordinary in ordinary moments. What she emphasized was not only the technical aspects of photography but also offered valuable insights into exploring diverse perspectives while observing subjects or scenes.
After moving back to Bangkok in 2016, I continued to pursue photography and established a fresh venture named ‘Aperture Brought Me Here’. I gradually stepped away from street photography and experimented with minimal geometric photography—this is where I discovered my unique voice. I feel a profound personal connection with my photographs. I prefer to present them in a way that enables the audience to engage closely with the work through the art of publication design. By trying to take photography beyond its potential, I choose to use graphic design to convey a photographic narrative without an influence of words.
Friends Told Me So: https://friendstoldmeso.wordpress.com/
Melbourne Brought Me Here: https://www.instagram.com/melbournebroughtmehere/
Looking through your Instagram profile one gets the sense that the colours we see are not quite real. As if there has been a brushstroke of colour added on in post production. Do you intervene to emphasise the message that you are trying to bring across through colour? Is colour more important to you than form?
What we see isn’t always what the camera can capture. The vivid aesthetic has become my known photography signature. I know it’s hard to believe, but the colours you see in my photographs are realistic and not manipulated. I am quite drawn to bright colours, seeking them out has become an effortless routine. My approach to capturing urban colours doesn’t conceal a specific message. Instead, it aims to offer a new perspective, presenting the familiar in a new and different way. The photographs I take extend beyond mere colours. They tend to have a strong visual impact by incorporating geometrical forms, with colours enhancing their aesthetic appeal.
You have a unique way of seeing and portraying Bangkok. One of the fascinating things in your images, apart from the colour and minimalist street approach, is that there are no people portrayed. In a city as populated as Bangkok this feels like a strong contrast. Human presence is hardly sensed. What is the reason for this choice?
I believe there is more to photography than meets the eyes when choosing to exclude human presence. I used to shoot a lot of street photography before I discovered my true essence in minimalism. I feel at ease with this aesthetic because it helps to calm my nerves. I suffer from mental health issues since many years. Documenting ‘people’ in my photographs always put immense pressure on me, triggering emotional downfall when I felt I had missed the moment or was unhappy with the scene. Colours have become my mental therapy- they help to calm my mind and help me to stay focused. Beyond my personal struggles, I believe that minimalism in photography is when there is nothing left to remove. The presence of humans can potentially be a visual distraction to the urban geometry my photographs seek to convey.
Zines are a huge part of your work. You also have an Instagram account page dedicated entirely to zine making (wuthipol.designs) Can you tell us what zines are? And how and why you started making them? Where do you get your inspiration from?
A zine is a self-motivated publication, traditionally handmade, that expresses and conveys some very personal and intimate topics—anything from your daily routines, travel documentations to political viewpoints. It can be a work of literature, a series of illustrations or comics, or photography. The definition of a zine has continuously varied over the years. In the modern era of zine culture, we have a saying; “a zine is whatever you want it to be”, and does not have to be in a form of a book. A flipbook can be a zine, as can an artsy leaflet. It is perfectly fine for a zine to be rough, raw and rustic; traditional zines are typically printed using nothing more than the magic machinery of a photocopier. However, in Asia, contemporary zine makers tend to up the game significantly; skillfully transforming what might seem inexpensive and personal into a professional product that can sit alongside tradtional artbooks in retail environments. A zine holds a special place in an artists heart and is cherished forever as it serves as a reflection of their aesthetic and personal identity.
I discovered the zine culture in Melbourne It all began with the Festival of Photocopier and Zine Fair back in 2015–16. I was mesmerized by the ‘randomness’ that a zine could embody, how it could take on various forms, incorporating virtutally any written or visual content, granting the artist total artistic freedom.
In recent years, I have attempted and experimented with various formats. To many of us, photography books often exude an air of high artistry and are almost impossible for young photographers to access or afford. Zines, with their crafty formats, provide a cost-effective platform for amateur photographers to showcase their work. It doesn’t only provide them with a less complicated solution than working with a book publisher, but also allows them to seek new audience and clients outside social media.
I know that you are very interested in colour therapy, both in its meaning and implication. Could you tell us more about this topic and how it relates to your way of doing photography?
To be honest, I didn’t initially set out to investigate the realm of colour theory, particularly in the context of photography. As a graphic designer, my work consistently revolves around achieving visual harmony in designs, with colours playing a crucial role. I see my approach to photography not only as an exploration of the aesthetic appeal of urban colour palettes but also to provide context on how these palettes are used in urban vernacular.
Indeed, my recent photography exhibition, titled “Urban Mess” explored this very idea. Hosted at Mesa 312 in the heart of Bangkok’s Chinatown, the exhibition questions the palette choices in the local architecture of Bangkok- whether they are impulsive or deliberate. The seemingly mismatched palette scheme on Bangkok’s buildings may have a systematic explanation, possibly attributed to the tropical climate. The vibrant and dramatic colour schemes serve a practical purpose, lasting longer under the intense sun compared to more subtle hues. While these surreal palettes eventually fade, they transform into another spectrum of colours, presenting a cost-effective approach that avoids unnecessary maintenance hassles.
I like to believe that my photographic style, particularly my documentation of urban geometry through vivid colours, offers a perspective that represents Bangkok. It goes beyond a minimalistic viewpoint, providing a narrative that captures the essence of the city.
What are your thoughts about the impact that social media, Instagram in particular, is having on photographers and creators generally?
Instagram significantly influences the way contemporary photographers choose to exhibit or display their work online. Beyond its algorithmic functions, I believe Instagram is a great social platform for increasing exposure and raising awareness of your photography. It’s almost like daily curating a personal exhibition in the palm of your hand. Despite its convenience and accessibility, some photographers find it overwhelming. I always feel like once a photograph is shared on social media, it diminishes in value—not in terms of quality, but due to the risk of excessive exposure that detracts from its intrinsic worth.
In contrast, attending a photography exhibition and acquiring a print establishes a more emotional connection with the photographer. The experience is certainly more memorable and meaningful compared to seeing a photograph on social media. Personally, this is why I don’t share my best work on Instagram. I’d rather reserve this work for future exhibitions, photography books or zines. I leave you with a thought: do you remember the content of the last ten posts you saw on Instagram?
What is your goal for photography?
I believe it is to expand beyond the realm of photography and to focus on improving my understanding of various “ways of seeing”. This is a possibly my concurrent goal for photography. The way you observe an object with your own eyes differs significantly from what a camera can capture. I believe that the ability to notice something from multiple perspectives is the often-overlooked key to successful photography. Surprisingly, a photograph taken with a smartphone is sometimes better than what a professional camera can achieve. It is the creative instinct, the keen sense of observation, that makes you capture a photo.
What is the most important thing you have learnt along the way and want to share with other emerging photographers? What advice would you give a young photographer starting out?
Life isn’t all about the destination; the journey is what matters. Photography embodies a similar philosophy. There is no such thing as ‘the best’ photograph—each image carries its own meaning and purpose. It’s not about the quantity; it’s always the quality that distinguishes your photographs from those of other photographers. While you can take inspiration from your idol photographers, there is no need to emulate them. Instead, strive to discover your unique voice and style.
Remember, you are the creative force, not your camera!
The ability to notice and the willingness to observe are more important than possessing expensive camera equipment. Lastly, consider giving back to the community. For instance, if you’re a street photographer documenting random strangers, express gratitude- even a simple ‘thank you’ can go a long way. Acknowledge that without their presence, there would be no photograph.
Which is your favourite neighbourhood in Bangkok to take pictures? And if I were a tourist, visiting Bangkok for a few days, which neighbourhood would you suggest I absolutely have to visit?
My favourite neighbourhood for my photography changes over time. Currently, if I were to pinpoint my favourite, it would undoubtedly be my hometown, Samutprakarn- commonly referred to as Paknam. Situated southeast of Bangkok, it is a province where I grew up and continue to live. For the adventurous tourist I would suggest heading to Paknam station, conveniently situated on the BTS Sukhumvit train line. Our CBD differs in structure from Bangkok. It is characterized by numerous one-way streets forming a looping pattern around town. And Paknam is a charming riverside city, and the sunsets are always spectacular here!
Silvia Donà