1. What does your tag name come from? What has led you this type of art.
“It was funny. At first I wondered why I had to use this name. It was the revolution of a new set of thinking. The factor of naming ‘Youngpray’ is from belief. I have belief, I have dreams, I want to succeed, I want to be good at studying, I want to be the winner, I want to have a house and car. ajority of people would say ‘pull yourself together’ or ‘be with yourself’ but this dream is the motivation for me to continue working. Youngpray means to make a wish. The word ‘pray’ has the subset such as faith, respect and also to greet and salute. It explains how I live. ‘Youngpray’ at first came from a child I once met in yanmar. He reflected who I am. There’s the light in his eyes showing faith and hope. Moreover, oung urk is the name my father gave me. I don’t want to abandon who I am. To make it clear, I still want to use the word ‘young.’ It expresses who I am the most because it includes things my father gave me plus who I actually am, and what I have . I myself am humble. I want my parents to be happy. It’s a easy wish. “
2. Do you usually use walls as the main communication channel?
“In fact, it could be any place. Recently, I've been using walls and public areas most of the time. I am also focusing on space management because I want others to come and express their ideas with us”
3. Do you think this kind of medium can efficiently convey your message?
“There are two groups. It depends on who I am talking to at th time. What I am concerned about is how to adapt with them after the time passes because those works will still be shown there. Therefore, this kind of art requires changes all the time. When you imply something in your artwork, you have to ensure that it will be useful even in the future. However, you still need to change them anyway because it is graffiti. may not work in the future.“
4. What tools do you use to measure your efficiency? Have you ever if there are any changes after you publish your artwork?
“The reflection is from people around me. The consequence occurs from people who see my art. We looked at their lives, looked at what happened. They changed the attitude from within. If I put all my effort and energy, next time my friend will do the same. I didn’t receive impact from my customers, I felt that close friends are the one that motivate how I work.”
5. Who is your target market? People in the public or people within your field?
“That is only a segment. I didn’t give them many things. They come and study my art. How they will think of my work is up to them. It may not impact the majority. It could be only a small part that I really want them to see. It could be 2-3 people. That is the outcome, the co-worker or the passer by. Those old street vendors would not go to the art gallery because they do not understand, so I serve them on the street, so they can see the art. I do not mind the result I just do it. At least they will receive some good influence from me. However, I still have to control the tone and the story, so it will not impact negatively on the kids or scare them away. The position is one of the important factors. Will it be okay if they see those scary things?”
6. How do you deal with any criticism of your artwork?
“I have been receiving criticism. People will ask something like ‘why don’t you do this?’ If I do it, that is not me. It is better if they comment on the management of the work, things like the process. After all, I have never fixed that my image has to be exposed in what way, otherwise I cannot work. I acknowledge the criticisms and adapt them, but I still have to be flexible on myself”
7. There’s a lot of pressure on artists to create and deliver new work. For you, does that pressure get to you? What type of pressure? How do you manage those pressures?
“Concept. I cannot put my character in it. When there is the concept of sex, I do not want to pass on this kind of work. When I am with my friends, and they talk about this, I do not like it. I do not want my character to be involved in alcohol and smoking. People will be like ‘why can’t you accept this? The world has changed. If you want equality, you have to understand.’ This stresses me out. I knew what it was, but I do not want kids or others to see this. If I am forced to, I will have to refuse. In the beginning I had to do it because I was finding myself. You have to find the balance whether you can handle the stress or you will it into the art and express it.
8. Describe your style of work. How do you see yourself as an artist? How are you managing your style?
“I look at myself as an independent artist who creates inspiration, keeping it real. Most of my work came from the surrounding area, environment, nature or street. Especially things people give zero attention or I think they aren’t beautiful I can look at them again and find their beauty. My problem is that I love doing things fast. I like making my art look fierce and powerful. I solve this problem by using color. I pick my most favorable color because I also have a problem with color classification. Therefore, I use the color that pleases the eyes, which is blue, green mint, and brown. The colors that feel natural and a little bit colorful. I use less orange and red because the meaning of the colors quite rude. I like the colors that comf the eyes, but I have diverse categories depending on the purpose. Do they want it to look tense or light? Nevertheless, the point that really expresses who I am is something relaxing and refreshing.”
9. creative ideas do not popup as you plan, how you manage it?
“I can always think of something. I cannot even follow things in my mind. They are too overwhelming, so I have to arrange. I t my friend once that I wanted to be in a thinking mode to rearrange the system because everything is crowded in my head. I am not good at management, but I try. I found some helpers because sometimes I cannot do it alone. However, I have to make it clear. To sum up, when there is a project, I will seek a helper, but it has to be someone I trust”
10. “Nothing is free in our world.” Do you agree?
“Nothing is free. For me I just want a little exchange, food and water to fill my stomach is enough or it could be something else. We make money for them. Their places have people come and take photos. I put in all my effort. It is not voluntary, but an agreement. I help them, they help me. Even if I voluntarily do for free, it is still a way to promote myself. You do it in order to publicize yourself, but if it is really for society, you do not include your character in it. I tried but failed. It is because they want me to be recognized. I chose to draw a tree and flower, but they asked me to put my character into the work so that people know who the artist was. At the end it turns back to earning money. Accordingly, balance is the key. When I grew up, sat back and thought, if I will make space for people to work voluntarily, I must succeed. When there is a project, I talk to them, set up a team, make everything clear, do everything so the artist can work. The capital factor is not necessary. You just give me money. I am a middle person. What do they use? Color? spray ? This is graffiti at organizing level.”
11. What do you think about the relationship between creating artwork in terms of financial? How do you manage your work to support your financial situation?
“It did not work in the past because those were to try out. It was not perfect because I was learning. the end we still need to find a balance, everything including responsibility”
12. most of your work inspirations come from? Do they reflect your life, environment, or if not, what they reflect? How?
“Everytime I work, I let my mood flow with the music. It depends on my feeling during that period. If I feel uneasy, I listen to hard music to support myself. The result will be both controllable and uncontrollable. It all shows in sketch.”
13. ew technology and the internet big part of every one’s life ow does it integrate with your artwork?
“The most important thing is that we have no private space. When technology has advanced, it is true that we can express our opinion, but we still have to find where we feel the most comfortable. Even when we listen to music, we have to select the songs. Sometimes algorithms control us act we feel. It becomes a symbol for us to do as we please, which means we can keep it real. For example, the algorithm of the song, I believe that the songs are randomly chosen following our preference. However, we should not go with the flow, we have to design it. Do not let the music control us. I have my own space. I have my own belief. I do not want technology to overpower me.”
14. Did ovid situation impact your work? If yes, how?
“No, I did not think of it. I thought of survival and to go on with my friends, not to survive alone. I think Covid-19 makes us prepare for the future. I will not surrender to oppression. I believe I can build a community with my creativity even if there is ovid-19. I can protect myself even though I have to face Covid-19 head on. Thus, I believe I can still survive. Whereas the government implements a quarantine policy or creates a new normal, I am not interested in any of this. Just saying that I am prepared for every issue. I am not scared.”
15. Perspective about Art and Politics in Thailand
“I think we should bring ‘Thailand’ to the international . Our opponent is not people within our country. At the end, I think what I can do is to give the right knowledge. I do not want to be involved in politics too much because I was selected to be on this side, but I have to behave with that side. Now I have to be a spokesperson for the society. I have become a puppet. I think I can make my own decision.”
16. What is your big challenge being an artist?
“There is nothing challenging for me. It is all about try and fail. Except when not ready, that challenges me. For example, arm pain. I was like ‘I cannot be taken down right now.’ It was about fighting with myself whether to work or not. If talking about the challenge in terms of risk in which I cannot take care of my family, that is the risk that I need to cut out. I have to survey how much I can keep up with myself first. If I have to do work that has high risk, I also have to think of people around me. There is always something to lose in the beginning.”
17. What is your goal for your art? How do you plan to achieve it?
“Money is a basic need, but my goal is to try new things, create new things in diverse social contexts. it must be enough to take care of my parents, to do business, hire subordinates, and form a strong team. I want my subordinates to work happily, and be able to look after their parents. I want to give direction to those who lack knowledge. The future plan is almost done. It is called Thai decoration, which represents Thai contemporary art.”
18. What is your process for creating one artwork?
“I think of what the whole context is. How much I can use my character in this area. If it still does not help, I will create something new by referring to existing art, remake them, and make them more contemporary. I want to reduce the gap between the old and new generation so that both can understand. My process is to lessen the gap to solve the problem. I do not have a fixed method. It also relies on the context. Look at the core and the gap, where the problem is. Why they cannot stay together, why there are no people coming to the store. I think as a designer, I work as an artist.”
19. you see yourself in the next 5 years?
“Tomorrow is more important. If I were to say something, I would say that I want to have a big company, have an artist network, be the core of artists in Thailand along with people in my field. I want to have an experiment studio where everyone can try the workshop, exchange knowledge, train, and work with different equipment. I want the studio to be the real education centre that supports cross connection, thinking, and the emergence of new development. Money is less important.”
20. Do you have future plans or projects to share with us?
“I cannot say, and I do not want to. It is a secret. It is about the underground”