Participated in Artist in Residence Program 2025 “CAMP”

My primary inspiration comes from my family. I became aware of my desire to create art at a young age, especially through the influence of my grandparents, who were Mor Lam performers. This traditional form of performance reflects the cultural identity of the Isan region and shares deep roots with Lao culture.

My father has also been a significant influence. Although he is an English teacher, he has strong skills in design. As a child, I often saw his drawings on the bookshelves where I spent time reading. These early visual experiences gradually shaped my interest in art.
I grew up in a rural area of Roi Et province, where access to contemporary art spaces such as galleries was limited. However, being the child of a teacher gave me early access to a computer. I experimented with drawing programs like Paint, and this curiosity developed into a long-term engagement with art.

Later, I pursued a degree in Fine Arts at King Mongkut’s Institute of Technology Ladkrabang, where I studied sculpture. The program emphasized three-dimensional practice alongside critical thinking, which became fundamental to my artistic development.

During this time, Thailand was undergoing political shifts alongside the COVID-19 pandemic. Student protests emerged nationwide, and education moved online. Returning home allowed me to reflect more deeply on my interests, particularly regarding Thai society, rural life, and the Isan region.

This period marked a turning point. I began producing experimental works that questioned both personal and collective experiences. I also became interested in decentralization through artistic practices in Isan. I came to understand that the sense of inferiority I once felt while studying in Bangkok was not personal, but structurally produced by unequal systems of power and resource distribution.

After graduating, I committed to becoming an artist. I was selected as one of four artists for the “Gold Rush” residency by KULTX in Khon Kaen, which became a significant starting point for my career. I continue to work with KULTX while developing personal projects connected to my hometown and the Isan region.

I was drawn to the ACAC residency because of its open and flexible framework, which aligns closely with my artistic concerns. I learned about the program through my friend Law Peysien Low from Malaysia, who participated in 2023 and encouraged me to apply.

The theme “CAMP” strongly resonates with my intention to address the social and regional issues affecting my community. This residency offers an opportunity to bring these concerns into dialogue with a new context—Japan—and to create conversations across different regions.

I also believe in the strength of ACAC as an institution that provides effective support systems for artists, allowing for meaningful experimentation and development.

I discovered many new perspectives throughout both the research and creative processes. ACAC provided a supportive environment that allowed me to fully explore my ideas.

This was my first time traveling to Japan, and my initial plan felt quite ambitious. However, I was able to realize it, including visiting a friend working in Gifu and Mie, and interviewing Isan migrant workers living in Japan.

I documented this journey through my project Grassy Diary, which traces the memory of grasshoppers that have disappeared from local environments. With the guidance of my curator, I also researched the Mushi Okuri ritual in Goshogawara and Aomori, which revealed how cultural knowledge in Japan is systematically preserved.
Although Aomori appears quiet and slow-paced, it holds a deep richness in its people and culture.

One of the main challenges was managing multiple activities simultaneously, including an exhibition, a “Thai Night with Atittayaporn☆彡” food workshop＆event of Isan food, organizing the workshops in Osaka, and a final performance. Despite initial concerns, these activities were successfully completed and well received.

As my work often involves collaboration, I use my Isan identity—being open, friendly, and sincere—to build relationships with fellow artists, curators, and local communities.

I often create a sense of familiarity by giving nicknames, treating collaborators like family. Before joining ACAC, I participated in a residency in Jakarta, where I met Adi Sundoro, whom I later encountered again at ACAC. Seeing a familiar face helped me feel more at ease. I called him “Apa” (or “Bang”), a respectful and friendly term meaning “older brother.”

I also addressed other artists with affectionate respect—for example, calling Tomo Setou, ACCA curator and Rie Tanji, participating artist “Mami,” as they felt like caring older sisters or maternal figures. I referred to Kai Metani as “Teacher,” as he offered guidance and strong support throughout the residency.

What impressed me most was the dedication of the ACAC team, who ensured that my work could be realized smoothly.

This experience is highly valuable and will significantly influence both my artistic practice and my role within artist communities.

Beyond creating art, I gained insight into how residency programs are managed, particularly how ACAC operates within a city like Aomori, which is comparable in scale to Khon Kaen, where I am currently based.

I became especially interested in the role of coordinators and how support systems can enhance artistic production. I plan to share this knowledge with fellow artists and apply it to strengthen the art ecosystem in Isan.

In the future, I will continue developing Grassy Diary in new contexts. Together with KULTX Collective, I am also working toward expanding regional dialogue through contemporary art.
We are currently planning the “Mekong Triennale,” which will expand from three to six provinces within the next three years—an important milestone in positioning Isan’s art scene on a broader platform.

While Bangkok has a vibrant and resource-rich art scene, the key difference lies in perspective.
In Isan, art is not only about aesthetic expression but also serves as a tool to raise awareness and help communities recognize the value of their own local context.

In contrast, resources and opportunities in Thailand are heavily centralized in the capital. As a result, artists in Isan often adopt a decentralized approach, building networks across Southeast Asia and internationally.

I believe that Isan holds immense cultural and historical potential, and it can play a significant role in shaping contemporary art discourse beyond the dominance of Bangkok.

*Interview conducted in April 2026.