(b.1964, USA) received a BFA from the San Francisco Art Institute and an MFA from The School of the Art Institute of Chicago. Based in Bangkok, he is multidisciplinary artist whose work encompasses film, performance, photography and installation. His work looks at complex rituals, gestures and performances of gender. He has exhibited widely in biennales such as the Venice Biennale 2009 and 2003, as well as the Berlin Film Festival, 2004. He has guest lectured in Fine and Applied Arts, Gender Studies, Philosophy & Religious and Anthropology in various international institutions. In 2009, a photography retrospective on his work was presented at Chobi Mela V, Dacca, Bangladesh. 

Curator’s note:

Michael Shaowanasai uses photography as a theatrical device for his performative projects that explore female identity. Shaowanasai has a deep respect and admiration for women. However, he does not want to be a woman, he is a gay man who enjoys exploring female identity. This is apparent from a recent conversation with the artist who said that previously his works used to be a portrait of him as a process of self discovery whereas now, they are simply a portrait of his observations of the female condition. However he is not claiming a social voice, merely a need to understand women’s roles as mediated through fashion, make-up and specific environments. It is a sentimental monument to feminity as the artist becomes a living statue in highly staged tableaus. This type of role-play, that takes on different personas, has a long history in photography, and Shaowanasai references well-known female photographers Cindy Sherman and Nan Goldin as examples.  As audiences, who are aware that this is a man dressing as a woman, we are amused by the artist’s knowing smile or gaze to the camera. But in addition, Shaowanasai’s contrived commentary also reveals the artificiality of imposed ideals and pressures that women have to navigate on a daily basis to be both individuals, mothers, wives and daughters.