DRAW ___ THE LINES

Fashion is a hyper-capitalist industry reliant on the mass production of cheap, disposable clothing. Labourers on clothing production lines perform repetitive, mechanical tasks devoid of creativity or decision-making, alienating them from their work and humanity (Marx, 1844). At the same time, factories enforce temporal and spatial discipline, a form of control that extends into workers’ lives outside the factory, shaping their everyday behaviours and routines (Smart, 1983).

Draw the Lines explores this alienation inside a Thai button factory's production line as well as its internalisation in workers’ personal lives. The project critically examines how factory processes reshape human movements—once organic and natural—into rigid, monotonous, and linear patterns focused solely on efficiency (Ingold, 2007). It does so by developing a form of situated durational performance practice manifest in a tripartite series of works which expose and enact these experiences.

A 10-hour film documents a durational performance in which I monotonously repeat bodily movements from a 9-hour work shift of a Thai button factory's production line, which I visited and observed under the constraints of efficiency, space, and time. An 8-minute cut intersperses footage with process-oriented experiments which highlight the influence of factory control extending into workers’ lives. Finally, a set of clothing labels stitched into fast-fashion garments reveal the nature of exploitation associated with specific items available in high street stores worldwide to prompt consumer awareness.

This practice takes inspiration from performance artist Tehching Hsieh and filmmaker Cao Fei's whose works use the body and time as key tools to explore human conditions, as well as Brechtian and Boalian theories to engage audiences in confronting alienation directly. It reveals the structural realities of production, encouraging audiences—whether as consumers or capitalists—to become aware of their roles and boundaries, and ask where they will draw the line.

The Unbuttoning (2024)

Short Film, Duration: 8 min
Single channel, 16:9 aspect ratio

The Unbuttoning explores the alienation within a Thai button factory’s production line and its internalisation in workers’ personal lives. The film critically examines how spatial control and time discipline reshape human movement through a situated durational performance, in which I monotonously repeat 18 task-based gestures drawn from a 9-hour factory shift. Based on my visits and observations, the performance reflects the constraints of efficiency, space, and time.

Interspersing urban and industrial fragments with process-oriented experiments, the film reveals how the monotonous rhythm of the industrial city extends into the body, transforming it into both a sensing device and a site of resistance. The body listens to the rhythms of production, exhaustion, and control, exposing the systems of labour and urban mechanisms that choreograph our movements and shape our capacities to feel and respond.

Internationally premiered with screenings in New York and London; exhibited in Japan.

21 December 2024 — MagikalCharm Experimental Video and Film Festival, The Royal Theatre at The Producers Club, New York
29 December 2024 — MagikalCharm Experimental Video and Film Festival, Beanlandia, New Orleans, LA
14 February 2025 — MICROACTS 20 Artist Film Screenings, FOMO House, London
27 June – 13 July 2025 — Ibaraki Film Art Festival, Osaka, Japan

Draw The Lines

Film, Duration: 10hr 15sec

Project Archives and The Commentary

Read Full Book here :

https://issuu.com/sasiwimon.archives/docs/e-book_archives_and_commentary

Archives and The Commentary

Read The Project Archives and The Commentary here

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