Thatchatham Silsupan | Foto: Chiangmai University
Thatchatham Silsupan is a composer and sound artist, currently living and working in Chiang Mai, Thailand. He studied musical composition and technology with Ken Ueno, Franck Bedrossian, Edmund Campion and Cindy Cox at University of California, Berkeley.
Initially trained as a classical composer, he subsequently shifted his interest towards experimental auditory works that go beyond the classical concert setup, such as sound installation art, collective improvisation, intermedia works and participatory creative projects that use sound as medium. Many of his works, regardless of form, advocate sounds which are typically overlooked in the traditional sonic paradigm of beauty. He is interested in the concepts of metamorphosis, hybridity, inextricable intertwining and other indicative narratives of aesthetics found in Southeast Asia and based on the principle of local-specificity.
Silsupan has received numerous grants for residencies, including at Harvard University (USA), the Darmstadt Internationale Ferienkurse für Neue Musik (Germany), the International Academy of Moscow Contemporary Music Ensemble (Russia), the Hong Kong Young Composer Program, the Manila Composers Lab (Philippines) and the Ensemble TIMF Academy in Bangkok. In addition, his music has also been performed at the Asian Music Festival (Japan), ACMF (Korea), Beijing Modern Music Festival (China), SoundBridge (Malaysia), YCMF (Indonesia), TICF (Thailand) and by ensembles such as ECO Ensemble, Talea Ensemble, Ensemble Mosaik, MCME, Asian Festival Ensemble, HKNME, TNUA Chamber Ensemble and Tacet(i).
Currently appointed lecturer at Faculty of Fine Arts, Chiang Mai University, Thatchatham is also a co-director of Chiang Mai Collective (CMC), an open-network for creative sound artists and practitioners dedicated to experimental music, collective improvisation, mixed-media and community sound work.
"Griefs for nothing" for oboe, clarinet (doubles as bass clarinet), bassoon, piano, viola, cello, double bass
"In Griefs for nothing
, I ponder the idea of an eerie afterlife with extensive use of elusive sounds. The composition is modelled on a suite of funeral songs, especially those found in Lanna traditional music. Like this music, it is arranged in multiple episodes in which the sequences flow without a sense of interruption. Griefs for nothing
should not be understood as a kind of dedication or reminiscence, but rather as a manifestation of the uncertainty of life that we all have to face."