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.

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.

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.

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.

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

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.