Pattaya Parallax
2024 - ongoing
“We see in order to move; we move in order to see.”
— William Gibson
Pattaya is a city that never quite lines up with itself: what the visitor is shown and what the resident negotiates pass each other like two tides. Mid-morning waves promise calm, but neon already waits in the wings; pilgrimage candles flicker a block from LED ice buckets; dogs doze through offers of paradise priced by the hour. Stand still long enough and the view slides—not forward or back, but sideways, like beach sand pulled in opposite directions.
This series stays inside that sideways pull. It drifts with the voices that sell brightness and the murmurs that sweep up after it. It notices how desire is sign-posted, rehearsed, postponed, and sometimes abandoned like a pair of heels in dawn sand. It listens to the pause between spectacle and silence, the breath you draw when the music cuts and the LEDs haven’t yet fizzed out.
Look long and the city begins to uncurl: postcards turn to scaffolds, invitations to footprints, billboards to blank walls awaiting the next skin. Nothing here is stable, yet every layer leaves a trace—a glow, a bruise, a rumour of salt.
Let your eyes adjust. Move a step left, a step right. The picture shifts; the place remains. The wonder lies in the distance between those two facts—a distance just wide enough to walk through.
