Interview By Sooa Lim​​
1. Can you tell us a bit about yourself and your background as an artist?
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I grew up in Bangkok, Thailand, and I’ve been into art since I was a kid, just doodling like any other kid. But unlike most, I never really stopped. I kept drawing and eventually decided to study art at Chulalongkorn University in Bangkok. Choosing to pursue art was a bit confusing at first because, as a Thai student, we didn’t learn much about art in school. When I got into the art faculty, it felt like diving into something completely new. Without anyone in my family in the art field, it was tough to figure things out, but it was also a fun and rewarding adventure. During my undergraduate years, I got the chance to work with one of the galleries in Bangkok, and that’s when I started to get more serious about becoming an artist. Seeing how the art world worked and being part of exhibitions gave me a deeper understanding of what it means to be an artist and what I wanted to do. After I graduated, I came straight to New York City to pursue my MFA at the School of Visual Arts. The art scene here is a whole different world, it’s fast-paced, diverse, and so exciting. It’s been fun to experience so many new things and see all the amazing, inspiring work happening here. It’s definitely expanded my perspective and challenged me in the best ways.
2. What themes or messages do you aim to convey through your art?
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My work often explores themes of perception, value, and the layered complexities of life, with a touch of irony woven in. I like focusing on the contradictions we experience, like balancing innocence with societal expectations or finding strength in what might appear fragile. Bright, cheerful colors often contrast with aggressive gestures or hidden meanings, creating tension and inviting curiosity. I also enjoy leaving space for the audience to bring their own thoughts and interpretations. From my perspective alone, the work might have a specific angle, but it doesn’t feel complete. By inviting viewers to engage and bring their understanding, the work becomes fuller and more rounded. My aim is to create art that sparks reflection and invites people to look closer, uncovering new layers of meaning and connection through their interaction with the piece.
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3. Can you add the context of your participation in the Bangkok Art Biennale? What did you present there? What was the overall experience like?
At the Bangkok Art Biennale 2024, I presented a site-specific installation titled “It’s all about ME ( ˘͈ᵕ ˘͈♡)”. This work explored the playful yet complex nature of girlhood, filled with joy, discovery, and spontaneity. On the surface, it celebrated the lightness and carefree spirit of youth, but it also revealed the contradictions and expectations placed upon girls. The installation delved into the delicate balance between innocence and societal pressures, where the aggression of “cuteness” hides in plain sight. It also highlighted how emotions are often packaged into something cute and manageable, with the world watching “her” perform and play along. The experience itself was intense but incredibly rewarding. Working in such a big space and coordinating with a team was a new and challenging experience for me. Communication was important, especially since I was on a tight timeline because I have three weeks to complete the entire piece before heading back to my studies. Despite the exhaustion, it was so much fun and absolutely worth it. Being part of such a major event also gave me the opportunity to interact with a diverse audience and connect with international artists. The experience pushed me both creatively and professionally, and I’m really proud of what I accomplished.
4. How do you approach a new artwork, from concept to completion?
Sometimes I start with a theme that I want to explore, and I work around it. As I progress, the work often begins to show something unexpected, and the theme develops layers that make it more interesting. Other times, if I don’t have a clear theme to start with, I’ll just begin working with objects or materials I feel drawn to and let the process guide me. I work very intuitively, so I rarely have a plan. I allow the work to evolve naturally, responding to what feels right in the moment. When it comes to completing a piece, I keep working until I feel it’s satisfied , until it resonates with me and feels complete. I enjoy the surprises that come with it.
5. What inspires your artwork, and how does your environment influence your creative process?
I find inspiration in personal experiences, emotions, and the objects or materials I come across. Often, it’s about letting things unfold naturally, I’ll notice something that catches my eye or sparks curiosity and that becomes the starting point. I’m drawn to materials that feel ordinary or overlooked because they hold potential for transformation and storytelling. My environment has a big influence on my process. In my studio, I let things flow intuitively, treating the space like an evolving installation where I can test and explore ideas. Moving between Bangkok and New York has also brought a lot of perspectives. For example, I’ve started incorporating newsprint weaving fish in my work, not necessarily as a tie to my Thai roots, but because they’re playful and symbolic, adding layers of meaning and interaction for viewers. It’s more about creating connections, whether personal or universal, in a way that feels engaging and open-ended.
6. What challenges have you faced as an artist, and how have you overcome them?
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One of the biggest challenges I’ve faced is balancing the freedom of working intuitively with the need for structure, especially when there are deadlines or specific goals to meet. Sometimes it’s hard to trust the process and not overthink things, but I’ve learned to lean into my instincts and let the work develop naturally. Another major challenge was working on large-scale projects, like my installation at the Bangkok Art Biennale. It wasn’t a step-by-step learning process, it was more like, “This is your one shot, and you have to get it right”. That pressure was intimidating, but it pushed me to figure things out quickly and make decisions with confidence. The experience taught me a lot about planning and executing work in a professional setting, and I came away with a stronger sense of what I’m capable of. There’s also the challenge of how people sometimes view art, not always as a “real” career. It can be frustrating, but I’ve learned to focus on why I do what I do. As long as I believe in my work and its value, that’s what matters most to me and keeps me going.
7. Does your identity as an Asian inform your art, or do you think it's irrelevant?
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My identity as an Asian definitely influences my work, but not in an overt or deliberate way. It’s more like an undercurrent, something that naturally shapes how I see the world and approach my art. The materials I use or the stories I tell might not always scream “Asian identity”, but they’re filtered through my experiences and the cultural nuances I’ve absorbed. That said, I don’t feel like my work is only about being Asian. I want it to be open and relatable on a broader level, connecting with people from different backgrounds. I think it’s less about whether my identity is relevant and more about how it quietly adds layers and perspectives to what I create.
8. What upcoming artworks, projects, or exhibitions are you working on now?
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I’m currently working on my thesis project, which has a theme I’m developing, though it’s not fully formed or finalized yet. It revolves around ideas like value, girlhood, play, duality, and the coexistence of positive and negative emotions. I’m exploring contrasts such as cuteness and aggression, self-expression and societal expectations, and how boundaries can be pushed or redefined. In this project, I’m experimenting with materials like cardboard, styrofoam, and bubble wrap, while also focusing on how to use space effectively in installations. It’s been exciting to think about how the work interacts with its surroundings and how viewers engage with the space itself. Although it’s still a work in progress, I’m looking forward to seeing how it comes together as I continue refining these ideas.
Chief Editor Paris Koh