still images of the installation, Utopia 1997

Two years have passed, since Sarawut Chutiwongpeti's Utopia 1997 came to my attention. At first, I was intrigued by the aesthetics of the piece and did not realize the implicit foresight that the work would have in the upcoming years. Due to a chain of events two years ago, I had placed the article on the backburner.

Recently, Chutiwongpeti contacted me in regard to the status of the article. This exchange began a dialogue with him that spurred me to look once again at his work and to reexamine his ideas in a June 2002 timeframe. With such events as the September 11, 2001 terrorist attacks on the United States' financial and political capitols; inflated conflicts between Palestine and Israel; and now threats of suicide bombers and anthrax have crept into the United States landscape, I realize how Chutiwongpeti's work foreshadowed these events.

The installation presents the viewer with ideas of more than just gorgeous lights and lines within an environment. Pieces of broken glass lay on the floor; dates of long ago events accompanied by different geographical locales such as Iran and other texts are scattered throughout the room; video monitors lay on the floor presenting "man's" great accomplishments; and missile crater relics are encapsulated in this environmental sculpture. Utopia 1997 is not a depiction of Eden, but rather envelopes remnants of chaos and danger of a society past. It is a cautionary sign to be wary amidst superficial peace and beauty.

The piece reminds me of Thomas Cole's 1836 painting The Course of Empire: Desolation which can be found at the New York Historical Society. The final piece in a series of five, the painting illustrates the aftermath of a society once great--destroyed by warfare, overindulgence and greed. Nature is now overtaking the architectural artifacts of the once great society--slowly returning the urban landscape to its natural beauty. In Chutiwongpeti's installation Utopia 1997 , sounds of nature are all that remain except for audio artifacts from the media that reminds the viewer of what once was.

It is my fear that Chutiwongpeti is right--that we live in a world that is becoming increasingly chaotic and inhumane. I ask myself, "Why are we killing each other in the name of religion? Isn't spirituality and religion's mission to provide us with a structure for peaceful living?" The beautiful facade of Utopia 1997 is evident at first glance but as we look closer we begin to see some possible disturbing artifacts of our future's past.

Born in Thailand, Sarawut Chutiwongpeti is a young artist who has already received international acclaim. He can be reached at utopia1998@hotmail.com . His website is: http://www.chutiwongpeti.info

Writer Seth Thompson can be reached at seththompson@wigged.net.