“I am the needle. Each story in my life is like a thread that passes through me, and together they become my art.”
ARTIST STATEMENT
My practice explores the relationship between material processes and perception. Influenced by psychoanalytic thought, I am interested in how internal states can be translated into material form.
Working primarily with embroidery and textile installation, I approach stitching as a form of bodily labour through which repetition, duration, and accumulation gradually give form to the intangible. Sustained acts of making allow thoughts, memories, and emotional states to become embedded within material. In my embroidery, knots and loose threads, traditionally concealed on the reverse side of the work, are brought to the front surface, collapsing distinctions between front and back, order and disorder, completion and incompletion.
SELECTED WORKS
– Solo Exhibition –
‘GRAVITY OF THOUGHTS’
2021
Artist-in-Residence,
The Peninsula Hotel, Bangkok
Site-specific textile installation: Reclaimed hotel bed linens, hand embroidery, and acrylic paint
Developed during an artist-in-residence program at The Peninsula Bangkok, Gravity of Thoughts transforms reclaimed hotel bed linens into a suspended textile landscape shaped through weight, tension, and gradual collapse. I was interested in how fabric marked by traces of prior use could settle under its own gravity and allow form to emerge through the material’s inherent behaviour rather than fixed construction.
Hand-embroidered linear patterns derived from the surface rhythms of the Chao Phraya River extend across the fabric, connecting the installation to the hotel’s riverside setting. Rather than functioning as representation, these stitched traces operate as rhythmic structures that register movement, duration, and instability within the suspended environment.
In this work, embroidery functions as a durational process of accumulation. Through repeated stitching, I use thread to register pressure, tension, and time directly onto the textile surface, allowing the installation to oscillate between intimacy and spatial monumentality.
– Solo Exhibition –
‘UNNAMED TREMBLE’
2020
The Jam Factory, Bangkok
Site-specific installation: Unbleached cotton and monofilament
Developed during the COVID-19 pandemic, Unnamed Tremble explores the tension between softness, vulnerability, and unease. Drawing from the flowing currents of the Chao Phraya River, and situated in a gallery adjacent to the river, the installation consists of suspended conical forms that translate fluid movement into a spatial field. Repeated throughout the space, these lightweight textile structures appear delicate and yielding, yet their pointed silhouettes introduce an underlying sense of caution and uncertainty. Oscillating between familiarity and discomfort, they occupy an ambiguous territory between shelter, presence, and potential threat.
The installation engages with invisible environmental forces – gravity, air movement, and the presence of visitors within the space. As viewers move through the installation, the suspended forms tremble in response, generating subtle shifts throughout the environment. Through repetition, movement, and accumulation, the work heightens awareness of the unstable relationships between bodies, materials, and surroundings, while drawing attention to the fragile boundary between gentleness and unease.
– Group Exhibition –
‘NEW MENAGERIE’
2019
Artist-in-Residence,
Koganecho Bazaar, Yokohama, Japan
Site-specific textile installation: Unbleached cotton, mixed fabric, monofilament, hand embroidery, and acrylic paint
Developed during a residency in Yokohama, New Menagerie reconfigures a two-storey domestic house into a psychologically charged environment shaped by observation, containment, and transformation. Suspended textile forms extend throughout the interior, while traditional Japanese zori sandals marked with recurring painted eye motifs are placed at the entrance for visitors to wear while moving through the installation. Activated through bodily movement and participation, the sandals begin to function as creature-like presences within the space. As viewers move through the house, suspended forms and shifting spatial relationships create an environment in which observation and imagination remain in continuous negotiation.
Positioned within the shifting environment of suspended forms and a hand-embroidered wolf figure constructed through tangled accumulations of thread, these elements reflect my interest in destabilising distinctions between domesticity and wildness, familiarity and estrangement. Through repeated forms and suspended structures, I wanted to create an environment that carries a sense of quiet unease and latent animation.
– Solo Exhibition –
‘A NEW INTERPRETATION OF THE PARADOXICAL WORLD’
2017
Nova Contemporary, Bangkok
Hand embroidery and acrylic on unbleached cotton
A continuation of Paradoxical World (2015), this exhibition marked a significant expansion in scale, with embroidered works reaching up to 320 cm. By extending the works beyond dimensions commonly associated with textile practice, I sought to challenge perceptions of embroidery as a domestic or decorative medium and emphasise its physical presence within the exhibition space.
Influenced by psychoanalytic thought, the works emerged from an interest in emotional states that remain difficult to articulate directly. Although contemporary life offers unprecedented access to
information, questions of loneliness, dissatisfaction, and the search for meaning often remain unresolved. The animal figures act as representations of the human subconscious and primal instincts, functioning as projections of these intangible psychological conditions to give visual form to emotions that are otherwise formless and deeply personal.
Embroidery became a means of exploring these internal states through a slow and intuitive process of image-making. The stitched figures occupy an ambiguous territory between human and animal, familiarity and estrangement, visibility and concealment. Through scale, material transformation, and psychological projection, the exhibition examined how hidden emotions can become embodied within material form and re-enter the viewer’s field of perception.
– Group Exhibition –
‘PARADOXICAL WORLD’
2016
The 15th Silpa Bhirasri Creativity Grants Exhibition Art Centre, Silpakorn University, Bangkok
Textile installation: Hand embroidery and acrylic paint on unbleached cotton
Marking my transition from oil painting to textile, Paradoxical World establishes hand embroidery as a process structured through repetition and duration. While retaining a figurative language, stitching unfolds as an intuitive and transformative practice through which forms emerge gradually over time. Influenced by psychoanalytic thought, I became interested in embroidery as a process capable of revealing what resists direct articulation. Replacing brushstrokes with stitches and paint with thread transforms the image into a slower process of making, allowing meaning to evolve through material engagement and duration.
In this work, knots and loose threads, traditionally concealed on the reverse side of embroidery, are brought to the front surface and integrated into the image. By collapsing distinctions between front and back, order and disorder, completion and incompletion, the work challenges conventional hierarchies embedded within textile practice. Through this reversal, embroidery becomes a space in which opposing conditions coexist rather than remain separate. The figures emerge through an open-ended process of transformation, appearing suspended between human and animal, familiarity and estrangement, visibility and concealment. Reflecting a contemporary condition in which established boundaries increasingly dissolve, the work embraces paradox and ambiguity as generative forces through which new forms and meanings emerge.