Dear Himalaya, From Chiang Mai (2017 – 2019)
The on-the-move Artist/Musician in Residency program between Thailand and the Himalayan region, creating new dialogues and cross-cultural art experiences.
Doi Saket’s New Clothes Project (2014)
A travesty of a fairy tale named “The Emperor’s New Clothes” used to express when many people believe something that is not true and follow the society rules just because they want to be accepted.
Big Foot (2010 – 2012)
An experimental art project that focused on exploration of myself with place and people on one of the highest places on earth – The Himalaya.
Your Message In The Bottles (2012)
What does Utopia mean to you and me? Is it an universal ideal? Where is it? Does it really exist? Does it relate to our life as individuals?
Twist & Twist (2009 – 2010)
In collaboration with Tadasu Takamine
The collaboration began in May 2009, when Takamine visited ComPeung. Impressed by the sustainable frameworks, ComPeung’s self-built earthen architecture inspired the final project at the BACC, Bangkok
Living With Snow (2009)
An experimental film that was produced in 2 weeks during a residency in Sapporo, Japan. I edited the footage without knowing the exact meaning of the conversations between the local people, therefore encouraging the audience to consider questions that haven’t been answered – what would happen if we don’t clean the snow?
Our Statements (2008 – 2012)
The project began in 2008, two years before the launch of Instagram. I traveled to many places holding a blank piece of paper.
ComPeung (2006 – present)
My largest, longest, and most impactful project, ComPeung is the first independent and longest ongoing artist residency program in Thailand.
Eak Ee Eak Eak (2004)
An exhibition questioning the truth created by language and symbols across cultures, using the construct “chicken” as a platform to explore this theme.
Please Share Your History (2002)
An interactive work that invited audiences visiting Chiang Mai University Art Center to share their history. 30 pieces of drawings were clipped on the wall with empty pieces of paper behind them. Visitors were suggested to take my original drawing and leave their stories to replace them.
Silence Party (2002 – 2003)
How do we communicate without speaking and writing? Is oral or written language the only way we can create truth? If so, how can we control the power achieved through this truth?
My Arts (2001)
I began working with people outside the art world, specifically those who didn’t study in art school. I used questionnaires as a way to find out about their ideas of art. The results of these questionnaires were the inspiration. The final works were installed in the art library.
I created hand sewn sock puppets as a form of self-portraiture. I then placed these objects in a trolley and roamed the streets looking for opportunities of exchange with random passer-bys.
Rotten Flower (2000)
The work was questioning the standards of making sculpture in Thailand’s art universities. Teachers would encourage their students to creates art based on particular materials and techniques, derived mainly from classical western art such as wood, stone, metal, or clay.
The main sense that we are taught to appreciate art with is sight. I wanted to create a work that appealed to other senses and might be appreciated in a different way. So, I interviewed blind students about what ‘beauty’ is to them.
A one month performance with the theme of “Home” where I began questioning what art could be. I moved my bed room to the gallery and temporarily slept there.
Obscured by Clouds (1999)
My first art intervention when I was an art student. I installed the work the night before the opening of the annual exhibition of the lecturers of Faculty of Fine Arts, Chiang Mai University. The sculpture was installed in the hallway, in front of the entrance of the exhibition room.