Inspired by Thomas Lamarre’s deployment of Deleuze and Guattari’s “nomadic line” in his analysis of Heian calligraphy, this essay hopes to demonstrate how the Thai artist, Phaptawan Suwannakudt, drawing on a deeply internalized feeling for form in Buddhist painting, moves us to go beyond sight and surface appearances by creating through gestures, sensations and inscriptions zones of disruption, disorientation, departures, and arrivals.

Included in

Aesthetics Commons



To view the content in your browser, please download Adobe Reader or, alternately,
you may Download the file to your hard drive.

NOTE: The latest versions of Adobe Reader do not support viewing PDF files within Firefox on Mac OS and if you are using a modern (Intel) Mac, there is no official plugin for viewing PDF files within the browser window.