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

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.

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'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.

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.