Tanatchai Bandasak developed a project inspired by a specific trait of the Mekong Delta in southwest Vietnam. In this area, cycles of tides and floods accumulate layers upon layers of sediments turning the river delta into one of the most thriving agricultural land in the region. For the artist, the rich and porous stratification of the territory is reminiscent of the epithelium, the human or animal tissue that covers the outer surfaces of organs and bodies. It is a thin, protective, and nurturing border between the interior and the exterior where a constant exchange of substances takes place. The photographic work presented the tissue-like consistency of the delta soil during a low tide. The images were captured on highly sensitive film producing an optical large-grain texture that merges with the physical granularity of the land creating a borderless, almost tactile landscape. Resorting to scientific research, onsite fieldwork, and the engagement of his own body, the artist aims to investigate the materiality and spatiality of this particular landscape through the sense of touch. This work expands on the art audiences’ sensorial and phenomenological understanding of the world.

In Tanatchai Bandasak's work titled Central Region, the artist delves into the exploration of the standing stones located in Hintang near Sam Neua, Laos. The artistic approach involves a skillful combination of dissolves and superimpositions of moving images accompanied by ambient sound. Through this creative process, the artist aims to capture the transient movement and vibrations within the spaces surrounding the standing stones.

The video work serves as a visual and auditory experience that unveils the spectral nature of the standing stones. Despite their seemingly inert state as ruins scattered throughout the landscape, the stones possess a powerful ability to demarcate territories infused with the essence of the undead and nonhuman sovereignty. The use of moving images in "Central Region" is not merely a stylistic choice but is presented as an essential technology for examining novel ways of communication with the unknown. This includes delving into the unseen ecosystem that envelops the standing stones in Sam Neua.

Commissioned by Animistic Apparatus, the video emerges as a response to Southeast Asian animistic practices, specifically those related to communicating with spirits. Tanatchai Bandasak explores the intersection of the visible and invisible realms. The gradual shifts of light, coupled with the indexing of movements and vibrations, contribute to the evocative portrayal of these ancient structures. Ultimately, Central Region becomes a poignant exploration of the interplay between the tangible and intangible, offering a unique perspective on the spiritual and natural dimensions.