My art practice eventually arrived at a point where I had freedom from various limiting conditions; the institutional mindset is not airtight and isn't altogether ideologically programmed. There are ways of escaping.

When I began making art, I just thought I liked it. As a woman who was placed in spaces with various conditions, conventions, and restrictions on self-expression, turning to art - whether visual art, writing novels, or writing articles - was to gain freedom from the space around me.

In shows where the audience wants to try to understand the work, the work is placed in a space of possibility where it becomes a subject of inquiry rather than being subject to conclusive interpretations. This is the gift I receive when I go abroad.

I'm still useful in my capacity as an arts educator and caretaker for the stray dogs.

There might just be a universal expectation to respect the dead, but my work is also born from another aspect of Thai society - that is, the overemphasis on familial bonds.

It is interesting to ask why people who come to view art suddenly posture themselves as full of righteousness. It's as if my artwork suddenly lends a higher moral ground to everyone else in the Thai art world.

Thai society rarely attempts to control literature in the same way that it vigilantly polices visual art. It's ironic because people in this society are more aware of literature than they are of art.