Your body of works have continuously explored subjects of political speculation and historical events that have shaped not only Thailand, but also its neighboring countries. What drew you to these subjects?

I began my career as an artist in 2009, and soon after in 2010 the Yellow Shirt/Red Shirt protests began around the Siam area. I was interested in seeing what was going on, and how each side were increasingly suppressing one another. It really made me wonder how a society could be triggered to be so divided to a point of extreme hate speech from both sides - the talk of death for mass entertainment with words such as “go and kill them”. Experiencing those moments play out as a young guy turned my interest to Thai political history, something that never even crossed my mind prior to these events.

I began producing music in 2015 for my exhibition in France, where I had an artwork that incorporated the song “Kwam Fun Un Soong Sood” (ความฝันอันสูงสุด) which could be seen as propaganda in Thailand during a specific era. Music has played a fundamental role in storytelling and culture, the spectrum of Thai songs are so diverse across the regions - I’m intrigued by the extent of what music can tell us through the lyrics, the history of the song, or even the instruments used. A traditional instrument I’m interested in, the Khene is known to Thai people as a Thai folk instrument from Isan, but in reality it was originally from Laos. Many Thai instruments are not just of Thai origin, but we simply select what we want to tell in history.