Seeking in the Interstices:
A Conversation with Tos Suntos
Exploring the relationship between personal identity and the social, cultural, and religious constraints that define its boundaries.
Tos Suntos, Seeking in the Interstices.. Credits: the artist and Tang Contemporary
Tos Suntos is an artist and designer that explores the tension between personal identity and the social, cultural, and religious forces that shape it. Through his alter ego "Enimous," he creates a visual language that explores the boundaries imposed by our belief systems and cultural traditions. Tos' work combines elements of Thai-Chinese culture with contemporary pop culture references, a voice that speaks to the universal human experience of navigating identity within societal constraints.
His solo exhibition, Seeking in the Interstices, opened on October 18th at Tang Contemporary Art Bangkok. I got to discuss with Tos about his exhibition and his creative process.
Q: The central theme of your work revolves around the relationship between personal identity and the social, cultural, and religious constraints that define its boundaries. Could you tell us more about your artistic research about this?
A: My art explores the relationship between personal identity and the social and cultural frameworks—including beliefs and religion—that set its boundaries. I see faith, traditions, and culture as these subtle layers that unknowingly wrap around us, sometimes making us feel 'trapped in self-imposed belief structures.'
So, my artistic research uses my alter ego, 'Enimous,' to ask questions like:
'Can we hold onto faith without being completely bound by it?'
'Can we really have our own identity without blending into what society dictates?'
I use my art as a space to explore these 'interstices,' or gaps, helping me understand how the world we grow up in truly shapes who we become.
Q: The architectures that seem to trap your alter ego are often brutalist concrete structures that contrast with the fragile transparency of the figure they enclose. Beyond the boundaries of these prisons, what dominates is a vast, perhaps indifferent, nature made up of immense forests or seas. What are the roles and relationships between these elements and the materials they are made of?
A: The roles and relationships between these different elements in my work are quite clear. There are three main components: Architecture, the Character (Enimous), and Nature.
Brutalist Concrete Structures:
Role: These symbolize social structures, belief systems, or rigid mental frameworks that are inflexible and built to 'trap' or 'define the boundaries' of existence.
Material (Concrete): This material conveys a sense of weight, permanence, and pressure.
The Character Enimous (The Fragile Transparency of the Figure):
Role: Enimous represents identity, spirit, or the vulnerability of the human being struggling or questioning things within that rigid structure.
Material/Appearance: The Transparency or fragility shows the uncertainty of an identity that is being confined, but also reflects the potential to see through those limits or transcend them.
Nature (Vast, Indifferent Nature - Forests or Seas):
Role: This stands for freedom, boundlessness, or the greater universe. It usually exists beyond the 'concrete prison'—a vast reality that might be indifferent to human struggle, yet offers a space for liberation.
The relationship between these elements is essentially a comparison between what humans create to confine (Architecture) versus the unrestricted, original reality (Nature), and the self that is exploring both worlds (Enimous).
Tos Suntos, Seeking in the Interstices.. Credits: the artist and Tang Contemporary
Tos Suntos, Seeking in the Interstices.. Credits: the artist and Tang Contemporary
Q: Your art integrates mythical and traditional elements with pop culture references. What sources of inspiration influence your work?
A: My inspiration comes from a unique blend of sources:
Mythical and Traditional Elements: I often draw from Thai patterns and mythical creatures, particularly those rooted in the Thai-Chinese culture of my own background. These elements reflect the religious and traditional structures I aim to explore.
Pop Culture: References to modern media, films, and cartoons help my work connect with contemporary audiences and evoke the feeling of the '90s—that era of transition before the world became fully digital.
Personal Experience: The most crucial source of inspiration is exploring my own life journey—from the religious beliefs and traditions of my childhood to starting to question those things as a teenager. This personal history is the driving force behind reinterpreting familiar concepts in a new way.
Q: The protagonist, or alter ego, that appears in your paintings is called "Enimous". Where does this name come from?
A: ENIMOUS: The Age of Transition and Genuine Connection
1990–2000: An Era of Transition and True Humanity
The '90s were a period of fascinating diversity and transition, marking the space between a world not yet fully digitized and one just stepping into rapid advancement. The magic of this era lay in its simplicity, with charm hidden in every aspect of culture. We saw music that spoke honestly about feelings, fashion that authentically reflected identity, towering religion and beliefs, unforgettable games and films, and technology that, while imperfect, taught people the value of waiting, appreciating time, and connecting with each other as human beings—a bond that often feels less tangible today.
That was the core appeal of the '90s: living without the need for constant online connection. Conversations, face-to-face meetings, playing, and simply existing together became meaningful experiences. Happiness didn't stem from social media; it arose from sharing time and emotion with others. Looking back, we often yearn for that childhood era when human-to-human connection was genuinely warm and authentic—a memory that no technology can truly replace.
The Hero and the Overlooked Minor Character
In the 1990s, countless films and cartoons framed their stories around the hero—the one celebrated as the center of events. They were the leaders, the brave ones ready to fight for justice, and their every decision was met with admiration and acceptance. These narratives often followed a familiar blueprint: the strong protagonist, the heroine who provided emotional depth, the villain driving the conflict, and the numerous minions relegated to insignificant, supporting roles.
If we look deeper into real life, we might realize that we often don't occupy the role of the great hero. Instead, we are closer to the "minions" or the minor characters who seem inconsequential. Yet, within this perceived insignificance, we find a value that cannot be ignored.
The henchmen and supporting figures who appeared in these stories might seem like voiceless, anonymous extras—mere groups or dark silhouettes lurking behind the major battles and events. To the casual eye, they are just a "faceless crowd." However, from another perspective, these characters reflect something profound.
Take the Stormtroopers in Star Wars, the countless soldiers in white armor, or the "Gikis" (grunt villains) in Kamen Rider who simply swarm the hero only to be easily defeated. For many, these are the "forgotten extras," but to us, they are intriguing icons.
Because beneath their repetition and anonymity, we see a reflection of the human condition: being a small part of a massive system that overshadows personal difference; being the little person often overlooked by history; or even having a life that exists primarily to support the narratives of others rather than telling one's own story.
Therefore, these supporting figures are not just "extras." They are symbols of an existence that, though small, is essential for creating and adding meaning to the larger story. They are the whispers that remind us that even within conformity and anonymity, we still long to be seen and to hold value in this world.
The inspiration for creating the character ENIMOUS does not come from the grandeur of the hero, but from the importance hidden in what is considered "unimportant."
We replace the "mark" or anointment of the character with an Eye. Anointing is found in many religions to symbolize dedication, blessing, and the granting of sacred power. This Eye is not just a symbol of sight; it is a declaration of the existence of what was once overlooked.
"We are Enimous." The character we created serves as a reminder that every existence has a role, possesses value, and deserves to be seen.
Tos Suntos, Seeking in the Interstices.. Credits: the artist and Tang Contemporary
Q: The color palette of your works is composed of shades of grey. Is this more a formal choice or a symbolic one?
A: Shades of Grey: A Symbolic Choice
My choice of a grey color palette is driven by both formal (aesthetic) and symbolic (conceptual) considerations:
Symbolism:
Ambiguity: Grey sits perfectly between black (often representing evil or darkness) and white (purity or goodness). It symbolizes the "grey area" or the ambiguity that lies between fixed beliefs, defined truths, and faith—which is a core theme in my work questioning rigid boundaries.
Memory: The overall grey tone evokes the feeling of an old photograph or a memory being revisited and contemplated.
Formal Choice (Aesthetics):
Using shades of grey minimizes distraction from color, which allows the viewer to focus entirely on the form, structure, composition, and the emotional narrative—specifically, the inner state of the character trapped within the architecture.
Tos Suntos, Bound Freedom.. Credits: the artist and Tang Contemporary
Tos Suntos, Freedom Unreal.. Credits: the artist and Tang Contemporary
Q: How has your creative process evolved over time? Are there any new aspects you would like to explore in the future?
A: Evolution of the Creative Process & Future Explorations
Evolution:
My journey began with experimentation across various techniques, including painting, digital art, collage, and sculpture. This process gradually evolved, utilizing social media as an open platform to share my work and gather feedback, which has been crucial for documenting and understanding my own path.
While my early work was diverse, my current creative process is more focused. It is now centered on exploring the same core questions but within a deeper context—specifically through the character "Enimous" and its relationship with architecture, which symbolizes constraint.
Future Explorations:
I am keen to explore new dimensions of expression and space.
Medium Expansion:
Although I have worked with painting and sculpture, I want to delve into integrating my art with digital technology in ways that truly reflect my themes. For instance, using technology itself to question how the "digital world" has replaced the "genuine human connection" that defined the '90s.
About the Artist
Tos Suntos (b. 1992, Bangkok, Thailand) is a Thai Artist and Designer known for his unconventional style applied to both his 2D and 3D creations, expressed in a variety of forms such as painting, digital art, collages and sculptures. His works have evolved through time, but consistently combine elements of Thai culture or traditions, with more contemporary and universal elements of monsters and pop culture.
Tos Suntos, Trapped in the Structure of Belief.. Credits: the artist and Tang Contemporary
Seeking in the Interstices is on view at Tang Contemporary Art Bangkok until November 23, 2025.
For more info about Tang Contemporary Art Bangkok and other Bangkok galleries and art institutions, check our Exhibitions section.