My current work is a dark twist compared to my previous paintings. The canvases reflect on being twenty-five years old, which is a year of misfortune according to Thai traditional belief.  In other words, it is a bad luck year when people have to face myriad unfavorable conditions, for example, having a car accident, getting injured, being frazzled from a punishing work schedule, death of relatives, conflagration, going to court, robbery, loosing a treasured belonging, etc. And the worst part of all is that everything happens simultaneously. There is no scientific proof as to why all of these mishaps occur, nor to the number of vexing events each person must endure. Why do some people have more or less than others? People have divergent stories, experiences and ways they struggle, but nearly all get sucked into the quick sand of adversity.

 

I found the unpropitious saga of my own 25th year of duress, an intriguing source and influence for my paintings. I seek to express my helplessness and depression through the language of art, while at the same time cautioning viewers to not overlook or judge people when they are going through treacherous times. However, I don’t expect everyone to understand my work, as it is not supposed to be literal or straightforward. My purpose is to divulge my interior authentic feelings semi-abstractly through the more arcane expression of brushstrokes, rather than through figurative, realistic, or exacting details.

 

I have crafted a few modest sized paintings to experiment with and invoke the emotional pain of the inauspicious events of my 25th year of hell.  Before beginning each piece, to investigate lines, shades, colors, and volume, I sketch in pencil and watercolor at galleries, the Natural History and Metropolitan Museums. I concentrate more on visual elements in connection with personal feeling than on the precise external identity of each natural or cultural entity.

 

As my experience is complicated and difficult to articulate, in another large-scale painting, I intentionally juxtapose incongruous elements. I incorporate multifarious organic forms from nature, including those of winter landscapes such as a frozen pond, unhealthy creatures, poisonous mushrooms, and carnivorous plants along with a few artificial configurations such as moribund city edifices, dry fountain and a brooch, teeming with flesh. The tableau was painted loosely with an unsettling feeling of dystopia ensconcing the visceral volume. Overall the organic flora, fauna, and urban structures are isolated, unbalanced, and mismatched, yet synch together well as a metaphorical emotional landscape.