SAUN SANTIPREECHA (b. 1989, Thailand) is an award-winning composer working in film, media, and installation art.

His compositional work in film and television—many of which he worked on under the former pseudonym S. Peace Nistades—has been screened in over thirty film festivals worldwide including the Cannes Film Festival as well as at New York, Paris, and LA Fashion Weeks. In addition to his own feature film scores, he has worked in numerous capacities in the music department for a number of composers including John Debney, Danny Elfman, The Newton Brothers, and Abel Korzeniowski including serving as technical score engineer on Justice League(2017), providing additional synth programming on Doctor Sleep (2019), serving as technical score coordinator on Horizon: An American Saga (Chapters 1 and 2) (2024), composing additional music for Five Night’s At Freddy’s (2023), and providing score arranging and synth programming on the first season of Daredevil: Born Again (2025).

He has had two solo exhibitions at Reisig and Taylor Contemporary in Los Angeles, CA (2023, 2024) as well as a solo exhibition in Rome, Italy (2024). In 2024, he was commissioned to create a sound and sculpture installation in the ADN East German guardhouse at the Wende Museum. His work has been in various group exhibitions in South Korea, New York and Los Angeles. 

He has been a guest speaker in the Media Arts + Practice, Cinematic Arts program at University of Southern California as well as at the 9th Annual Conference of the Samuel Beckett Society—Beckett and Justice—at California State University, Los Angeles. He has taught a class on interdisciplinary sculpture as well as served as an Industry Mentor at Musicians Institute.

He is based in Los Angeles and continues to work with filmmakers, artists, and musicians on independent and commissioned projects.

— a statement-en-procès

My work primarily lives in interstices and intersections, in trace embodiments of the visual and aural, of the tangible and intangible, of image, language and sound, always ever-moving, ever in flux, grounded in the position of questioning, or rather the questioning of position—embodying a larger concept which I call relational modularity—weaving a web from various disciplines and inquiries, working with and through material in order to sculpt, form and embody gestures of thought. The work, in other words, is formed from traces and is in itself a trace, questioning the relation of tangible and intangible bodies, frames and systems, the body as frame, bodies as systems, systems themselves as organized body, a societal frame—a never-ending cybernetic loop: the act of breaking myth itself forms its own myth.

Each piece aims to hold multiple perspectives, stratum of ideas, and material memories that opens up a space within which each spect-actor (to reference Claire Bishop’s use of Augusto Boal’s term) can find themselves in dialogue—through the act of translation as excavation. In what state of concretization then can we call a work complete as opposed to in process? And most importantly, how can a work be triangulated such that a spectator is brought into the fold themselves, excavating the work, the spectacle before them, the spectacle within which—accepting and acknowledging our innate need to find and impose meaning—we create and inhabit our own symbols, myths and illusions. Yet despite it all, the aim is always to ‘heighten the illusion to the point of transparency’ (Adorno on Alban Berg).