Sina Wittayawiroj

no god
no king
only human

ALIEN Artspace (2023-Present)

project

space

community

Khon Kaen

Founded in Khon Kaen in 2023 by artist Sina Wittayawiroj, ALIEN Artspace is an independent art initiative located above his coffee shop, “Ready for the Weekend. Coffee and Art.” Its genesis is deeply connected to Sina’s personal journey as a “cultural refugee” from Bangkok and his self-identification as an “alien,” stemming from a long-held feeling of not quite belonging. Observing a lack of accessible spaces for artistic expression in Khon Kaen, Sina established ALIEN Artspace to present art and ideas that might be considered “other” or unconventional, true to its name and its founder’s ethos of embracing perspectives outside the mainstream.

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ALIEN Artspace operates fundamentally as an ongoing “experiment” rather than a commercial gallery, driven by a philosophy that prioritizes “cultural profit”—the invaluable gains of building community, fostering meaningful dialogue, and cultivating new knowledge and creative methods—over direct monetary returns. This approach guides its engagement with artists and the public, navigating financial realities while challenging centralized definitions of “Thai art and culture” and restrictive notions of beauty. It aims to be a platform where art is understood broadly, encouraging diverse cultural forms and experimentation, and functions as a grassroots “institution of critique” offering alternatives to mainstream art systems.

Currently, ALIEN Artspace serves as a dynamic platform for contemporary artistic voices in Khon Kaen and the wider Isaan region, with approximately 80% of its exhibiting artists being local. It is committed to showcasing a “contemporary Isaan voice” that moves beyond stereotypes and provides a sanctuary for artists who identify with “otherness” or whose work challenges norms. Exhibitions frequently engage with critical social and community issues, such as “รางรถไฟสีเทา” (Between the Railway) by Pitchayate Borriboon on railway development impacts, “น้ำจะท่วมฟ้า ปลาจะกินดาว” (When Floods High as Skies, Fish Feast on the Stars) by Puvamin Indee and Nattapon Innoo concerning Mekong River issues, and “Rifted Drift” by artworms exploring changes to the Hueang River. Sina also curates shows featuring local contemporary artists such as “How Eating Tokay Tails Made Me Into an Alien.” by Pichit Sonkom, “This Too Shall Pass” by Boyz, and “LOOK MOM, NOW I’M FALLING” by Accident 2000.

Furthermore, ALIEN Artspace hosts Open Call exhibitions, providing an uncurated platform for any local artists, designers, and creators to participate and showcase their work. The space also actively participates in collaborative events, such as “ใช้ได้” (Chai Dai), an event in collaboration with Namkhuen Collective and Inappropriate Book Club.

Beyond exhibitions, ALIEN Artspace is a venue for social and political seminars, talks, workshops, and other activities aimed at fostering critical thinking, community building, and dialogue on pressing contemporary issues, further broadening its engagement and impact.

Through these activities, ALIEN Artspace actively supports local artists and fosters critical dialogue. It aims to contribute significantly to a more decentralized and diverse art scene in Thailand, embodying a spirit of independent, community-focused cultural engagement. Looking forward, informed by Sina’s view of the space as part of his “‘rebirth’ in Khon Kaen,” the initiative is poised to continue its experimental and adaptive trajectory, championing regional artistic identities and serving as a model for art spaces that operate outside conventional capitalist frameworks.

A New Chapter with Old Echoes: Thailand 2023-2025

The period from 2023 to mid-2025 in Thailand was dominated by the aftermath of the May 2023 general election, which saw the progressive Move Forward Party (MFP) win the most seats, signaling a strong desire for change. However, MFP leader Pita Limjaroenrat was blocked from becoming Prime Minister by the military-appointed Senate. This led to the Pheu Thai Party, which came in second, forming a controversial coalition government with conservative, military-aligned parties it had previously opposed, installing Srettha Thavisin, a real estate tycoon, as Prime Minister in August 2023. This period also saw the return of former Prime Minister Thaksin Shinawatra after 15 years in exile, who then received a reduced sentence. The political landscape remained turbulent, with the Constitutional Court playing a significant role; in August 2024, it dissolved the MFP for its campaign to amend the lèse-majesté law and later, in the same month, removed PM Srettha Thavisin from office over an alleged ethics violation in a cabinet appointment. Paetongtarn Shinawatra, Thaksin’s youngest daughter, then became Prime Minister in September 2024, leading the same coalition. Throughout this time, concerns persisted regarding restrictions on freedom of expression, the use of the lèse-majesté law, and the influence of unelected institutions on the democratic process, even as local elections, such as the Provincial Administrative Organisation (PAO) elections in early 2025, showed continued competition between major political forces. A significant legislative development was the legalization of same-sex marriage, set to take effect in early 2025.

Political Illustration (2020-2022)

project

political

illustration

digital paint

social media

FreeArts

Following his impactful return through online platforms and merchandise under the “Sina Wittayawiroj®” brand, Sina’s role as a political illustrator became even more pronounced and direct with the surge of pro-democracy protests in Thailand from 2020 to 2022. This period of intense political activism served as a powerful catalyst, compelling him to channel his creative energies into a prolific stream of illustrations. Characterized by the use of strong and saturated colors, his artwork was created to directly record and reflect the unfolding movement and pressing political issues. These initial pieces from this era immediately established a tone of direct confrontation with dictatorial or tyrannical powers, capturing the zeitgeist of resistance.

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The illustrations produced during this critical time delved deep into political critique. Sina masterfully parodied historical paintings and iconic images, recontextualizing them to comment on contemporary events and figures. His work was known for its sharp satire, mocking those in power and consistently highlighting the problems and hypocrisy associated with the elite. These potent visual statements became a backbone for the movement, widely disseminated through social media, thereby amplifying protesters’ messages and providing a powerful, accessible form of political commentary.

His commitment was further demonstrated by bringing his art directly to the frontlines, most notably with his “I'(m) HERE TOO” exhibition, which he daringly staged at the Democracy Monument amidst an ongoing protest, embodying his belief in art as an active participant in social struggle.

Subsequent to this period of heightened activity as a prominent political illustrator, which included the direct action of the “I'(m) HERE TOO” exhibition and creating a significant body of work that challenged authoritarianism, Sina Wittayawiroj further extended his reach. For a time, he took on the role of an illustrator for VoiceTV Online, a platform known for its critical stance and pro-democracy reporting. This engagement, occurring after his impactful presence in the protest scenes, allowed his distinctive visual critiques and political insights to reach an even broader audience through an established media channel. Working with VoiceTV signified a new phase where his independent artistic activism converged with mainstream media, further cementing his position as a significant visual voice in Thailand’s ongoing political discourse and underscoring the power of illustration as a tool for journalistic commentary and public engagement.

I(‘m) HERE TOO (2020)

solo

flash

digital print

interactive

participatory

protest

public space

Democracy Monument

Bangkok

Sina Wittayawiroj’s “I(‘M) HERE TOO” was a potent flash solo exhibition staged directly within a key pro-democracy protest site at the Democracy Monument in Bangkok on November 8, 2020. This act of artistic intervention was a direct statement of solidarity and presence, bringing art immediately to the frontlines of ongoing social and political engagement. The exhibition’s title itself, “I(‘M) HERE TOO,” underscored a collective assertion, resonating with the voices of the demonstrators and the artist’s own commitment to being part of the unfolding events. The exhibition was characterized by its dynamic and participatory presentation: the artworks were physically brought into the protest space and displayed by a group of individuals. As depicted in photographs from the event, approximately five people each carried and held up two pieces, collectively presenting the ten artworks to the assembled crowd and passersby.

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The exhibition featured this curated selection of 10 drawings by Sina, each a visual commentary on pivotal and often contentious political events primarily from 2020 and earlier. These works included depictions of powerful protest symbols like the three-finger salute directed at a royal motorcade, portrayals of key figures such as activist Rung delivering speeches, and references to King Rama X’s public statements like “We Love Them All The Same” and “Thailand Is The Land Of Compromise.” The selection also courageously touched upon historical acts of resistance and alleged state violence, with images referencing Praiwan Navamthong’s 2006 taxi protest and the grim discovery of activist Comrade Kasalong’s body.

The act of individuals physically carrying and presenting these images turned them into mobile banners or placards, integrating them directly into the visual language and energy of the protest itself.

By displaying these specific, politically charged drawings through this active, human-supported presentation in such a volatile and significant public space, “I(‘M) HERE TOO” moved beyond traditional gallery confines to directly reflect and amplify the concerns, historical consciousness, and defiant spirit of the protest movement. The ephemeral, “flash” nature of the exhibition, combined with this performative act of carrying and showing the works by a group, further highlighted its guerilla-style intervention. It made a bold and immediate artistic statement that asserted not only the artist’s and the people’s presence and voice but also a collective ownership and dissemination of the critical messages embedded in the artworks within a contested democratic space.


Sina Wittayawiroj® (2019)

project

merchandise

branding

political

Sina Wittayawiroj®

social media

After formally ceasing his role as an artist in 2017 with “The Last Exhibition (Temporary Name),” where Sina Wittayawiroj burned his own artworks as a protest against censorship and limitations within the art world, he took a hiatus from creating as a traditional “artist.” However, this silence was not an end but a pause for transformation. Sina returned to engage with the public once more, choosing online platforms like Facebook and Instagram as his primary channels for communication and disseminating his work in a new format. This was under a new self-branding, “Sina Wittayawiroj®,” reflecting a move beyond the conventional definition of an artist towards becoming a creator of content and products explicitly linked to social and political issues.

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The initial return of Sina Wittayawiroj® featured products that clearly mirrored his sharp persona and perspectives. He began by designing and selling t-shirts with satirical texts and symbols, such as the “Anti Art Art Club” design, which playfully teased the mainstream art scene. Crucially, designs like “กระด้างกระเดื่อง” (rebellious/defiant), a term heavily charged within the political context of the time, also emerged. The decision to produce merchandise that immediately responded to current events demonstrated Sina’s alertness and his intention to use creativity as an integral part of ongoing social and political dialogues, no longer confining his art and messages to gallery spaces but bringing them to a wider audience through wearable and usable everyday items.

From this t-shirt starting point, Sina Wittayawiroj® continuously expanded his product line. He notably developed his viral online meme – an image of the “พานรัฐธรรมนูญ” (Constitution Phan offering tray) being launched into the sky from the Democracy Monument – into t-shirt designs and other merchandise, reinforcing his image as an astute observer and critic of socio-political affairs. Furthermore, he began offering his illustrations as posters, many of which were works later showcased in his “I'(m) HERE TOO” exhibition. This exhibition marked a return of his art to public spaces and protest sites, aligning with his online activities focused on broad accessibility and engagement.

This consistent activity on his Facebook Page and Instagram under the Sina Wittayawiroj® brand, along with the production of merchandise deeply connected to political and social situations, gradually solidified Sina’s role as a “political illustrator”.

His ability to create powerful and widely communicable symbols and messages led to collaborations with various pro-democracy groups and movements. These included designing calendar covers and campaign shirts for the Ratsadon group, creating illustrations for the Milk Tea Alliance network, joining the “FreeArts” (ศิลปะปลดแอก) collective, and founding the “นักวาดภาพประกอบประชาธิปไตย” group – a collective of like-minded creators aiming to use their artistic skills to support social movements and produce work reflecting the public’s voice.


Political Turmoil and Protests: Thailand in 2019-2022

Following the 2019 general election, which was conducted under the framework of the 2017 constitution and a newly implemented complex electoral system, General Prayut Chan-o-cha transitioned into the role of a civilian Prime Minister, leading a multi-party coalition government. However, his premiership remained highly contentious and faced continuous public dissatisfaction. This discontent was further exacerbated by the controversial dissolution of the Future Forward Party, a popular opposition party. These factors collectively fueled large-scale, youth-led pro-democracy protests beginning in 2020. These demonstrations had far-reaching demands, including Prayut’s resignation, comprehensive constitutional reform, and, in an unprecedented move, calls for reforms to the monarchy. The government’s response to these widespread protests included the imposition of emergency decrees and the pursuit of legal actions against protesters, notably marked by a resurgence in the application of lèse-majesté charges. The period culminated in further political instability when, in August 2022, the Constitutional Court ordered the temporary suspension of Prime Minister Prayut Chan-o-cha from his duties. This was pending a ruling on whether he had exceeded the eight-year term limit stipulated for prime ministers. However, he was reinstated in September 2022 after the court ruled that, according to their interpretation of when his term officially began under the 2017 constitution, it had not yet expired.

group

installation

interactive

participatory

conceptual

Bangkok CityCity Gallery

Bangkok

“A Portrait Of The Graphic Designer (In A Landscape iMac’s Screen)” was a conceptual and interactive artwork by Sina Wittayawiroj, featured in the 2017 group exhibition “To Whom It May Concern” at Bangkok CityCity Gallery. Created during a period when Sina was actively working as a graphic designer alongside his artistic practice (and prior to his “retirement” as an artist later that year), the piece directly engaged with the complexities of this dual professional identity. The installation centered on an Apple iMac, its screen displaying Sina’s face, not merely as a static image or pre-recorded loop, but enabling live video calls where viewers could genuinely interact and converse with him in real time. The iMac was set against a striking “teal/mallard green” wall, a color choice intended to evoke a classic museum or institutional atmosphere, thereby framing this live digital interaction within a formal art presentation.

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The most immediate interpretation of the piece is a dynamic self-portrait reflecting Sina’s multifaceted professional life and a direct engagement with his audience. The “portrait” of himself as a graphic designer, mediated through the iMac, became a poignant statement about identity, labor, and the artist’s presence. The carefully constructed setting further amplified this: a large traditional leather couch was placed in front of the iMac, inviting viewers to sit comfortably and engage in these live, personal video conversations with Sina. This transformed the viewing experience from passive observation to active participation, directly addressing the exhibition’s theme, “To Whom It May Concern,” by fostering a real connection between the artist (the “I”) and the viewer (the “Whom”).

Furthermore, the artwork powerfully explored the nature of presence, communication, and identity in a digitally mediated world. By facilitating actual conversations through the screen, Sina highlighted not just how our lives are filtered through digital interfaces, but also the potential for genuine connection and dialogue despite physical distance. The screen became a live conduit rather than just a reflective surface. The title’s specific mention of “(In A Landscape iMac’s Screen)” underscores the medium’s centrality, while the museum-like wall and formal couch created a deliberate juxtaposition between the immediacy of live interaction and the gravitas of a traditional art setting.

Adding another layer of institutional commentary, the iMac, the portal for these live interactions, was cordoned off by a red rope barrier. This conventional gallery device, typically used for static, historical artifacts, here ironically both “protected” and highlighted the live, interactive digital presence. This gesture questioned the art world’s criteria for value and display: How is a live, relational artwork, dependent on the artist’s remote presence and viewer interaction, valued and presented? It created a tension between the invitation to converse (via the couch) and the institutional act of demarcating the “art object” (the iMac setup). Thus, the piece cleverly used its interactive nature and meticulous presentation to provoke thought about art, labor, technology, direct communication, and the evolving mechanisms of the art institution.

This Show Is Cancelled (2016)


Overlap (2015)

In the 2015 duo exhibition “Overlap – ทด ซ้อน ทอน ลวง”–(Test, Superimpose, Reduce, Deceive), with Makha Sanewong Na Ayuthaya. Sina Wittayawiroj contributed works that aligned with the show’s core theme of questioning societal norms and the “myths” or unquestioned beliefs prevalent in Thai society. The curators described Sina’s artistic approach as experimental, employing diverse techniques to capture and reinterpret people’s thoughts and feelings. His work was seen as an attempt to articulate sentiments that couldn’t be expressed directly, using contemporary social and cultural elements as tools to create new interpretations and pose questions back to the audience.

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Sina’s own statement for his eight pieces in “Overlap” further elaborated on this theme of indirect communication. He highlighted a societal context where direct speech about certain sensitive topics is often not possible, leading to oblique, embellished, or even distorted narratives. His artworks were described as being created from “parts of history that many dare not touch”, not to challenge or conquer, but to represent this very act of speaking indirectly. Consequently, the works often distilled these complex subjects into fundamental elements like “dots, lines, colors, shapes, movements, and time”.

However, he also noted that besides these abstract elements, content was hidden, akin to a treasure map, embedded within the artwork titles, the specific forms of certain objects, and fragmented, detailed information scattered, for instance, on lightboxes. These materials and techniques were used to guide the viewer towards other interpretations, often distancing them from the factual origins of the subject matter. He framed this necessity for indirectness as a form of “defeat” in the face of suppressed freedom of expression.

The specific pieces exhibited by Sina, such as “Pim Thai, Sep 28, 1951” (a laser print on stencil paper installation), “Effeuiller La Marguerite” (a video loop), “16 Years Old, Male” (a drawing), and “Fineman’s Footnote” (a carbon on canvas piece with obscured text), utilized a range of media to embody this concept. Through such diverse forms, from installations referencing specific historical dates to more enigmatic visual and textual presentations, Sina explored ways to allude to sensitive or suppressed histories and societal conditions. His works invited viewers to engage in a process of interpretation, reflecting on the unspoken and the layers of meaning that emerge when direct communication is constrained.

โดนัทนมสดคลุกน้ำตาล แท้จริงเป็นไฉน? (2015)

Sina Wittayawiroj’s 2015 event, “โดนัทนมสดคลุกน้ำตาล แท้จริงเป็นไฉน?” (What is the truth about fresh milk doughnuts tossed in sugar?), was an unconventional one-day duo exhibition, unconventionally staged as a collaboration between Sina and ป้าโดนัท (Auntie Donut), the owner of the doughnut street stall on Maha Rat Road, Bangkok, where the event took place. The latter part of the title itself, particularly the phrase “แท้จริงเป็นไฉน?” (What is the truth?), was directly inspired by a chapter from Jit Phumisak’s influential book “Art for Life, Art for the People.” This deliberate reference immediately framed the exhibition within a discourse of social engagement, relational art, and a critique of established values, using the familiar doughnut—and the collaborative act of its presentation—as a metaphor to probe deeper questions about truth, perception, and art’s role in everyday life.

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By situating this artistic exploration within a humble doughnut stall and co-creating it with its proprietor, Sina directly questioned traditional art spaces and authorship, aiming to make art truly accessible and embodying Jit Phumisak’s “art for the people” philosophy in a very tangible way. The choice of venue, the ephemeral nature of the one-day event, and the collaborative theme with an everyday artisan suggested a desire to find and reveal authenticity and meaning within shared common experiences, contrasting sharply with the often rarefied and individualistic atmosphere of the formal art world. It was a conceptual, site-responsive, and deeply relational intervention characteristic of Sina’s practice of challenging norms and embedding socio-political undertones within ordinary contexts, prompting a re-evaluation of where art belongs, who creates it, and whose “truth” it seeks to uncover.

This exhibition can be seen as a precursor to Sina’s later, more overt engagements with public space, community collaboration, and socially critical art. The act of inserting an artistic inquiry into such a vernacular setting—a place of daily commerce and simple pleasures—and sharing authorship with a community member, likely aimed to disrupt routines, spark genuine curiosity and dialogue among an unsuspecting audience. It preemptively addressed themes of authenticity, the value of everyday craft (like doughnut making) as a form of cultural expression, and the potential for art to not only engage directly with the community but to be co-created with it, moving beyond the confines of the gallery and questioning who has the authority to define or appreciate art.

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Money Faketory (2014)

Money Faketory” was a collaborative and interactive art project in which Sina Wittayawiroj participated, an open platform run by a team of dedicated anonymous young thinkers based in Bangkok. The project aimed to explore the ideas of money, art, and their intersections, particularly questioning “What is Art and how does capitalism affect Art in its overall aspects?” by deliberately overlapping the concepts of Art and Money.

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The initiative began with the artists drawing “Art Bank notes” on paper, assigning them the same value as real currency, and selling them for the equivalent amount. “Money Faketory” debuted its first large-scale work at the “Curry Crisis” exhibition at Whitespace Gallery Bangkok in 2013, where they sold these hand-drawn art banknotes to the audience.

By 2014, when the project was showcased at the Kuandu Biennial in Taipei, Taiwan (and also at the Bangkok Art and Culture Centre – BACC), it had evolved significantly. A young economist and university lecturer had joined the team, helping to expand its facilities and ideas to replicate a small-scale banking system. “Money Faketory” encouraged everyone to create their own art currencies, which could then be used within the project’s system to fuel an artistic practices mechanism. This interactive system allowed viewers to illustrate their own bills and then use this “counterfeit” currency: they could store it in a “counterfeit bank,” purchase items from a specially created “discount supermarket,” and even take their art-money to a “casino” for a round of gambling. The installation at Kuandu featured meticulously installed neon lights, a primal atmosphere created by tropical flora, and high-decibel pop music played on a loop, all combining to generate an energy and sense of freedom specific to the rebellious lives of some underclass groups.

Using a website as a base portal for some of its transactions, “Money Faketory” functioned as a parody, reflecting on the interplay between the real world and the art world, and how both systems are played and circulated. A key goal was to seek possibilities to extend the meaning of the money system, which holds significant stakes in the globalized world, and to explore how its nature represents other societal systems. As viewers immersed themselves in this carefully designed audiovisual and participatory playground of consumption, they were prompted to discern whether “Money Faketory” was a serious attempt to resist current rules of economic circulation or merely a harmless game for self-entertainment.


2014-2018, Thailand Under Military Rule

The period from 2014 in Thailand was initiated by profound political upheaval, commencing with the May 2014 military coup d’état. Led by General Prayut Chan-o-cha, this coup overthrew the existing elected government and led to the establishment of the National Council for Peace and Order (NCPO) to govern the nation. This era of direct military rule was characterized by the suspension of the previous constitution and significant restrictions on civil liberties and freedom of expression. A key development during these years was the drafting and promulgation of a new constitution in 2017. This new charter became a point of contention, with critics arguing that its provisions were specifically designed to entrench military influence in the political sphere and pave the way for a guided democracy, setting the stage for the political dynamics of the subsequent years.

Art (&) Auntie (2013)

Sina Wittayawiroj’s 2013 solo exhibition, “Art (&) Auntie,” was a thoughtfully structured exploration into the diverse perceptions and definitions of art and aesthetics, specifically by creating a dialogue between the formal art institution and the surrounding everyday community. The exhibition was designed to probe who has the authority to define art and where artistic value resides, effectively blurring established boundaries. It was divided into three distinct yet interconnected parts:

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First, the experimental documentary “Auntist & Unclerator,” which juxtaposed views from within Silpakorn University with those of local shop owners and vendors. Second, a pop-up t-shirt shop, “Art is T-shi(r)t,” featured designs with direct quotes from these vendors about their understanding of art, such as “My stall is an art exhibition.” and “Life needs art.”. Finally, the “Thai Footpath Art Competition 2013” democratized art evaluation by having these same local vendors serve as judges for public submissions. Collectively, “Art & Auntie” initiated a dialogue on who defines art and where it resides, effectively blurring institutional boundaries and amplifying community voices on aesthetics.

Together, these three facets of “Art & Auntie” fostered a rich and critical dialogue about the fundamental nature of art: who creates it, who defines it, where it is found, and whose perspectives are valued. The exhibition successfully blurred the lines between the institutional art world and the everyday creativity of the community, championing a more inclusive and diverse understanding of aesthetics and artistic practice.

Love Scene (2013)

Sina Wittayawiroj’s “Love Scene” (2013) was an installation created by repurposing common objects found near the exhibition space—like decorative items, brooms, traffic cones, dildo and plastic flowers—into a new sculptural arrangement. This transformed collection of the mundane then became the canvas for a dynamic projection mapping display, overlaying it with constantly shifting lights, colors, and sounds.

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The projected content was a deliberate collage of disparate and evocative imagery. It included abstract colored lines, close-ups of human eyes and physiques, and video clips that jarringly juxtaposed serene meadows with violent explosions, alongside “18+” adult content and animations of cosmic events like an expanding universe.

This chaotic yet orchestrated visual sequence would culminate in the entire scene being bathed in red light, then plunging into darkness, only to restart in an endless loop. The title “Love Scene,” in conjunction with this intense and often contradictory imagery, seemed to challenge or expand conventional notions of love, suggesting a complex, multifaceted, and perhaps unsettling view of human experience and relationships.

It’s Ma Land (2012)

“It’s Ma Land” was developed by Sina Wittayawiroj during his participation in the 6th Tropical Lab in Singapore, which centered on the theme of “Land”. Inspired by diverse perspectives on land within the Singaporean context—as the territory of a new nation, a finite resource, and an economic, cultural, and political asset—the work took the form of an interactive installation. It featured a workshop table where participants, guided by an instructional video, could create their own paper-craft elements.

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These individual creations were then assembled collaboratively, forming an interconnected landscape of land and water, symbolizing collective engagement with and construction of shared space and territory. The piece emphasized participation and the relational aspects of art, exploring how individuals contribute to a larger, evolving whole.

Nation, Religion, King and Art (2011)

Displayed on WTF Gallery’s facade, this light installation deconstructed the words “Nation,” “Religion,” “King,” and “Art” into blinking, triangular segments, obscuring their immediate legibility. This fragmentation directly questioned art’s hierarchical status against Thailand’s core institutions, reflecting the societal difficulty in openly scrutinizing these powerful concepts and art’s contested place among them. The piece serves as an early example of Sina’s enduring use of art to critically engage with power structures and provoke dialogue.

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The installation served as a poignant critique of established hierarchies and the societal reluctance to openly scrutinize these core institutions. The obscured words mirrored the often indirect or coded ways these sensitive topics are discussed, while the blinking lights could suggest the inherent instability or contested interpretations of such grand narratives. “Nation, Religion, King and Art” thereby highlighted art’s contested place—whether as a reinforcing, subservient, or critical entity—and stands as an early example of Sina’s enduring use of art to critically engage with power structures and provoke dialogue on fundamental societal concepts.

Playtable (2011)

Developed during Sina Wittayawiroj’s month-long Asia Artist Residence in Gwangju, South Korea, in 2011, “Playtable” was an installation born from his fascination with the novel colors observed in the city’s urban landscape, such as those on shop signs, painted building and cityscape decorations.

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Sina translated these observations into a series of collages, which were then presented within his studio space.This body of work was further integrated with projection mapping techniques applied directly onto the physical environment, creating an immersive experience. Notably, “Playtable” incorporated an interactive element, empowering viewers to personally control the sequence of the projected animations, thereby fostering a dynamic dialogue between the audience, the artwork, and the artist’s interpretation of Gwangju’s visual identity.


Play Politics (2008-2010)

“Play Politics,” Sina Wittayawiroj’s B.F.A. thesis project, was an installation featuring paper toys designed to be folded into figures of various Thai politicians. The work aimed to reflect on the public’s often complex and varied interactions with political figures by allowing audiences to engage with these “toys” in multiple ways.

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Through the physical acts of constructing, manipulating, or even symbolically adoring or defacing these paper effigies, the installation invited a tangible exploration of the spectrum of sentiments—from reverence and playful engagement to critique and rejection—that characterize the public’s relationship with the political establishment. The transformation of influential figures into fragile, mutable paper objects itself served as a commentary on power, perception, and public agency.


Sina Wittayawiroj

1986. Thailand.

Sina Wittayawiroj is a Thai artist and creator whose career has been defined by a direct confrontation with institutional power and censorship. After graduating from Silpakorn University, his early work explored sensitive socio-political topics, culminating in the 2016 censorship of his exhibition Beat Around the Bush. This pivotal event triggered a profound artistic response:

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first, by exhibiting the act of censorship itself in This Show Is Cancelled, and finally, by burning all the original artworks and displaying the ashes in 2017’s The Last Exhibition (Temporary Name). With this act, he symbolically retired his role as a traditional “artist,” protesting the very systems meant to support artistic expression.

This disillusionment, however, paved the way for a powerful re-emergence. Galvanized by the 2020 pro-democracy protests, Sina embraced the identity of a “creator” and political illustrator, using digital platforms to disseminate sharp, satirical, and widely-shared critiques of authoritarianism. He became a key visual voice for the movement,

bringing his art to the frontlines in the flash exhibition I(‘M) HERE TOO and co-founding collectives like “FreeArts” and the “Democratic Illustrators.” His work during this period championed the idea of art as a common, accessible tool for social change, challenging the sanctity of the gallery and the artist.

Today, this journey of critique and resilience has led him to Khon Kaen, where he identifies as a “cultural refugee” from the centralized Bangkok scene. Here, he founded ALIEN Artspace, an independent initiative dedicated to platforming “other” voices and fostering a contemporary Isaan art community beyond romanticized stereotypes. Driven by a philosophy of “cultural profit” over monetary gain, his current work focuses on building alternative, community-focused systems for art and dialogue. Through ALIEN Artspace and his continued creative practice, Sina Wittayawiroj actively explores new models for what art can be and for whom it is made.

Project | Space | Network

YearProjectCity
coming soonTAPs (The Alliance Project Space)Khon Kaen
2024-presentBERN NANG CLUBKhon Kaen
2023-presentALIEN ArtspaceKhon Kaen
2020-presentSina Wittayawiroj®N/A

Solo | Duo

YearExhibitionLocationCity
2020I(‘M) HERE TOODemocracy Monument Bangkok
2017The Last Exhibition (Temporary Name) Cartel ArtspaceBangkok
2016This Show Is Cancelled Bridge Cafe & Art SpaceBangkok
2016Beat Around the BushBridge Cafe & Art SpaceBangkok
2015โดนัทนมสดคลุกน้ำตาล แท้จริงเป็นไฉน?Doughnut Street Stall, Maha Rat RoadBangkok
2015Overlap – ลด ซ้อน ทอน ลวงP1/P2, Phannarai Bulding, Silpakorn UniversityBangkok
2014ART (&) AUNTIEWTF CAFÉ & GALLERYBangkok

Group | Collective | Collaborative

YearExhibitionLocationCity
2024Praise to The RhapsodyThua CategoryKhon Kaen
2022Save Point ExhibitionKinjai ContemporaryBangkok
2018-currentBangkok Through PosterKinjai ContemporaryBangkok
2017TO WHOM IT MAY CONCERNBangkok CityCity GalleryBangkok
2014(-)1 : “The great artist of tomorrow will go underground” – Marcel DuchampBangkok Art Culture and CentreBangkok
2014Kuandu Biennale 2014Kuandu Museum of Fine Arts (KMOFA)Taipei
2013OscillationSpeedy GrandmaBangkok
2012Tropical Lab 6LASALLE College of the ArtsSingapore
2012A Part of You, A Part of MeWTF CAFÉ & GALLERYBangkok
2011Residence Project for Asian ArtistsN/AGwangju