Artist Statement

My work is captivated by the transformative power of the painted object, and its ability, through aesthetic camouflage, to elevate the unremarkable into something of perceived value. This fascination reflects my complex journey between cultures. Born in the United States, raised in Thailand, and now residing here again, I feel connected to, yet separate from, my Thai heritage. I carry a lingering sense of shame from existing between these worlds, feeling neither fully authentic nor entirely inauthentic within my cultural identity. Paint, with its layered and often illusory nature, mirrors this in-between experience, allowing me to connect with my origins through abstraction and to imbue my constructed forms with a sense of richness.

I attempt to reconnect to ancestral knowledge within Thai craft, culture, and history by manipulating everyday materials as an act of reclamation. Though direct mastery of craft forms like goldwork, lacquer, wood carving, mother-of-pearl inlays, basketry, and mural painting are largely lost to me, these traditions serve as profound inspiration. Poplar and birch from home improvement stores are dyed with aniline, or brass and copper mesh are patinated as “weavings.” Palettes of red, green, gold, silver, and bronze are painted on fused plastics and sculptures as “mural paintings” or “metalwork.” My use of materials, drawing on a renewed interest in traditional Thai artmaking, is meant not only to convince others of the object’s significance, but also to convince myself of my value to the Thai community as a second-generation Thai American.

My work is set in a dystopian world shaped by human-induced environmental collapse, where survival depends on a return to cultural traditions. Through paintings, sculptures, and wearable art, I contemplate healthcare, ecological destruction, overconsumption, waste colonialism, and cultural assimilation. This intersection of culture, environment, and consumption is influenced by my experience in environmental testing, where I analyzed aqueous and solid samples for contamination. Waste, an overlooked residue of societal intake, became central to my practice, merging seamlessly with craft-adjacent techniques. These materials accumulate into culturally inclined, yet detached forms, evoking physical and spiritual preservation as I connect myself beyond the confines of the material world.

When I die and reincarnate, possibly in a future body, I speculate that I want to leave behind the will to pursue an art life, just as those before me have done. As an artist, I am committed to ensuring that our cultural memory, resilience, and spirit endure beyond this time.