This suite of sculptures and wall piece draw upon imagery from sci-fi films from the 1950s to the present, in which pyramids signal an alien or futuristic world. Hovering over these fabrications and projections are the real-life pyramids conceived, designed, and built by humans living across ancient Latin America, Africa, and Asia.
An animated neon snake inspired by an inaccurate and mislabeled 18th-century French naturalist illustration.
Upcoming & recent exhibitions, performances, screenings, projects, publications.
(Updated April 2026)
“In this towering installation, Suparak constructs a sprawling set shaped by centuries of imperial fantasy… Snakes coil around prey; a throng of brightly feathered birds erupts into flight above, while fanciful fruits swell into bloated cornucopias.”
A video spotlighting the range and utility of the long-running Crying Jordan meme, which re-immortalizes one of the 20th century’s most successful athletes into an avatar of failure; an Everyman for disappointment, angst, and sorrow; a tool for rapid responses to live events; and a demonstration of the increased power of (anonymous, decentralized) fan culture.
“A collage of Caucasian actors in roles as emotionally complex robots, AIs and cyborgs. [The installation] questions who is granted the privilege of humanity and emotional depth in these techno-futuristic landscapes.”
“A sly, sun-soaked detour into cat video territory, refracted through postcolonial critique and pop collage. This winking essay film uses the feline internet genre to unpack tropical aesthetics, exoticism, and identity politics, purring with layered audio, meme logic, and cultural dissection. As playful as it is pointed.”—Chicago Underground Film Festival
What may be broadly viewed as benign paintings from dusty art history books point to still-reverberating and repeating histories of colonialism, trade, and sources of European and American wealth through extraction.
“Suparak’s media archaeology disrupts these racialized imaginaries of AI and identifies openings for building future imaginaries otherwise.”
An amalgamated skyline of Asian futures imagined by white filmmakers. Sourced from sci-fi movies and television shows that depict a vice-ridden, dangerous world overtly marked with elements of East, Southeast, and South Asian architecture.
This live cinema work, presented as a taxonomy of tropes, is illustrated with images and clips from futuristic movies and television shows. Accompanied by a live musical soundtrack, Suparak delivers anecdotes, trivia, and documents from the histories of art, architecture, design, fashion, film, religion, and science.
A set of backdrops containing concepts central to present-day sci-fi and fantasy, highlighting a sliver of the brilliance and beauty of Asian imagination and artistry across six centuries.
A short video essay that takes one of the world-building tics of white science fiction — gratuitous signage in Asian languages — to consider its utopian potential and dystopian applications.
A virtual haunted house of the horrors of D.E.I. in cultural institutions where we examine some of the horrific and harmful practices, while making a case for better ways to approach this necessary work.
An installation that collages white men outfitted in Hawaiian shirts while vacationing in future foreign lands.
The 21-foot long mural Tang Rainbow is an array of non-Asian actors outfitted in Chinese-influenced costumes across 50 years of science fiction cinema and television.
A 3-channel video work shows us how koi are used to embellish the scenery in Hollywood sci-fi. GIF-ified, they are glitches of techno-Orientalist fantasies
MONDAY considers how technological, economic, and cultural forces shape the ways we produce, share, and experience media — and how that media in turn influences our values and aesthetics.
“Peggy Ahwesh and Astria Suparak offer inventive perspectives of Western influences on Asian cinema and and Asian influences on Western cinema.” Two-week run at The Walker.
Two-week run of “Asian futures, without Asians” at MoMA, NY. Followed by a conversation with Xin Wang and Theodore Lau.
Astria Suparak 