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.

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.

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.

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.

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.

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