I probably sensed the serious formality of the ceremonies and felt what others were feeling then. Looking back, I'd guess that it had opened up a gaping hole in my psyche. In the process of creating art, I might be trying to fill that hole, or to reduce its depth, or to make it feel less hollow. I think that making art could have helped from that moment on.

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 eventually shifted to video. Video opened up new conditions, or freed me from old conditions.

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.

Women in Thai society have been placed in the space of the home. It is possible that women have assuredly taken up that place without thinking too critically about it.

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.

It's surprising that readers don't see challenging writing as morally hazardous, when it might be pushing the same kinds of boundaries as art does.