Posts Tagged ‘Bangkok


Photographs: Marcus Bunyan. ‘Oblique’ 2019

March 2019


Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'


Marcus Bunyan (Australian, born England 1958)
From the series Oblique
Digital colour photograph



Here is a new body of work shot mainly from moving taxi windows in Bangkok and surrounds, interspersed with still, Zen-like images.

With the moving images, you have to anticipate by a couple of seconds the movement of the taxi and the release of the shutter so you have no idea what the image will actually be. Your sense of previsualisation is completed on feel and instinct. You trust the world to provide the image which you are looking for. I enjoy them, they give me pleasure and contentment in their creation.



In terms of defining the concept of the oblique we can say that: “The oblique is fundamentally interested in how a body physically experiences a space.”

In this case, both physically and spiritually.

The series investigates the concept through images of movement and stillness, fleeting glimpses of urban life intertwined with Zen-like images. The series is constructed not as a sequence, but as a “volume” where there is no beginning, no middle and no end. It is like a jewel that can be turned around and looked at from different perspectives, where no one perspective is the correct interpretation. Each volume has its own validity, its own uniqueness.

The images can also be read as a protest against death – no beginning, no middle, no end – where everything is connected to everything else. As Goethe observes in his Conversations with Eckermarm (5 June 1825):

“In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it, and over it.”

Dr Marcus Bunyan

66 images
© Marcus Bunyan

Please note: the series is best viewed on a desktop computer with a large screen.



Alternative versions of the work can be found at Oblique B, Oblique C and Oblique D.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my store web page.



Marcus Bunyan (Australian, born England 1958) 'Oblique' series 2019


The 66 images of Oblique (2019). Please click on the photograph to see a larger version of the work


Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'


Marcus Bunyan (Australian, born England 1958)
From the series Oblique
Digital colour photograph



Marcus Bunyan website


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Judith Butler: Who I am – vectoring the body, a life worth living, framing war

February 2011



This is a photograph I took of Lord Buddha at Wot Poh, Bangkok, something beautiful to meditate on!
Click on the photograph for a larger version.



I love reading Judith Butler; she challenges you to think about the world in different ways, always intelligently and insightfully.


“We can think about demarcating the human body through identifying its boundary, or in what form it is bound, but that is to miss the crucial fact that the body is, in certain ways and even inevitably, unbound – in its acting, its receptivity, in its speech, desire, and mobility. It is outside itself, in the world of others, in a space and time it does not control, and it not only exists in the vector of these relations, but as this very vector.11 In this sense, the body does not belong to itself.

The body, in my view, is where we encounter a range of perspectives that may or may not be our own. How I am encountered, and how I am sustained, depends fundamentally on the social and political networks in which this body lives, how I am regarded and treated, and how that regard and treatment facilitates this life or fails to make it liveable. So the norms of gender through which I come to understand myself or my survivability are not made by me alone. I am already in the hands of the other when I try to take stock of who I am. I am already up against a world I never chose when I exercise my agency. It follows, then, that certain kinds of bodies will appear more precariously than others, depending on which version of the body, or of morphology in general, support or underwrite the idea of the human life that is worth protecting, sheltering, living, mourning. These normative frameworks establish in advance what kind of life will be a life worth living, what life will be a life worth preserving, and what life will become worthy of being mourned. Such views of lives pervade and implicitly justify contemporary war. Lives are divided into those representing certain kinds of states and those representing threats to state-centered liberal democracy, so that war can then be righteously waged on behalf of some lives, while the destruction of other lives can be righteously defended.”

Butler, Judith. Frames of War: When is Life Grievable? London: Verso, 2010. pp. 52-53


Footnote 11. A given morphology takes shape through a specific temporal and spatial negotiation. It is a negotiation with time in the sense that the morphology of the body does not stay the same; it ages, it changes shape, it acquires and loses capacities. And it is a negotiation with space in the sense that no body exists without existing somewhere; the body is the condition of location, and every body requires an environment to live. It would be a mistake to say that the body exists in its environment, only because the formulation is not quite strong enough. If there is no body without environment, then we cannot think the ontology of the body without the body being somewhere, without some “thereness.” And here I am not trying to make an abstract point, but to consider the modes of materialization through which a body exists and by means of which that existence can be sustained and/or jeopardized.




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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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