In March 2025, Supples Gallery in Bangkok unveiled Echoes of Time, a quietly powerful solo exhibition by Thai artist Pansupa Sitthirak. Known for her subtle yet deeply evocative compositions, Pansupa transforms everyday views into distilled reflections of memory, time, and emotional presence. Her paintings—delicate in line, restrained in colour—move gently between reality and recollection, offering viewers layered glimpses into personal and shared experience.

Drawing from her rural upbringing in Chai Nat province, Pansupa’s practice is rooted in attentiveness to the overlooked: weathered surfaces, architectural forms, moments suspended in light. She reimagines these fragments of place not just as visual records, but as vessels for contemplation. In Echoes of Time, this sensibility deepens—each work blends two or more moments in time, merging personal memory with a broader meditation on perception, space, and emotional resonance.

In this conversation with CNTRFLD.ART, Pansupa opens up about her childhood among unmanicured landscapes, the instinctual nature of her creative process, and the interplay between architecture, nature, and silence in her paintings. She reflects on how her Thai heritage, instinctive connection to place, and evolving material choices shape a practice that resists spectacle, instead offering viewers an intimate rhythm of seeing. Through this dialogue, her work emerges not only as visual art, but as a slow, poetic form of storytelling—where what is unsaid often carries the most weight.

Her voice, like her paintings, moves with care. Thoughtfully considered and intuitively rendered, her art reveals what often goes unnoticed, lingering in the soft edges between presence and memory.

“Growing up in Chai Nat, I learned to see beauty in the unarranged, the quiet. That sense of solitude shaped how I create — not through analysis, but through instinct.”—Pansupa Sitthirak

CNTRFLD. Can you tell us about your childhood in Chai Nat—what was your environment like growing up, and how did it shape your early interest in art?

PS. As a child, I grew up in the countryside of Chai Nat province, an area filled with the simplicity of nature. The surrounding landscape wasn’t systematically managed or neatly arranged, either by government agencies or even by the villagers themselves. Everything seemed to be left to follow its natural course. The environment at that time was quiet and vast. For me, it carried a sense of solitude. These elements deeply influenced my approach to creating art. It's like a sentence without many modifiers, yet it communicates clearly to my heart. This feeling doesn’t come from complex thinking or analysis but rather from 'instinct' — the instinct I use to perceive and absorb the beauty around me.

CNTRFLD. You’ve spoken about how identity is shaped by our environment and challenges. How did your upbringing and cultural background in Thailand influence the way you see yourself as an artist today?

PS. Absorbing the everyday landscape that I’ve been familiar with since childhood — simply because I’ve lived with it daily — has shaped my perception. Things like traditional Thai-style fences, small details around me, ornamental wrought iron patterns, or the faded color of old cement walls. These may seem ordinary at first glance, but in fact, they hold layers of emotion and meaning. These elements have become materials for thought, forming a personal perspective that comes from truly living in this space. When someone from another culture looks at them, they might see a different flavor or find a certain charm — something that is seen through my lens.

CNTRFLD. How do memory, heritage, and a sense of place influence the stories you tell through your work? Is there a particular moment or image from your past that continues to appear in your visual language?

PS. I create images that blend multiple places and moments in time. It often begins with a sense of impression — a feeling that sparks a question, which then evolves into an artwork, guided by instinct toward the final image. These places, if left to fade into memory, might become blurry or forgotten. But today, we can record memories using just a phone camera. I don’t reject technology — it helps preserve fleeting moments that might otherwise disappear. In a way, we live in a real-time era. No matter where we are in the world, we can see places and events happening elsewhere. This act of recording is part of my creative process. I’m someone who enjoys photographing places, people, and spontaneous moments, and I also like revisiting the past, reflecting on things that have already passed. These personal habits help deepen the understanding of the dimensions in my work.

CNTRFLD. Your recent solo exhibition, Echoes of Time at Supples Gallery, beautifully captured fleeting emotions and everyday scenes. Could you share the inspiration behind this body of work and what you hoped viewers would take away from it?

PS. This exhibition is an exploration of my own memories and experiences, which I have titled “Echoes of Time.”
The meaning behind the title refers to the reflections of memories and experiences from various moments in life — ones that haven’t vanished from the heart, but instead, resurface as mental images. These memories gradually take shape within the artworks I create.

“Echoes of Time” can be interpreted in many ways — as memories slowly fading, or as a return to past moments. The word “Echoes” evokes the sense of something that still resonates in the present, even though it has already passed. This concept connects directly to my work, which revolves around interpreting experience and memory through painting.

Each piece is a combination of two to three different places and time periods. I use both painting and installation art to help guide the viewer’s understanding of the sequence of images being conveyed, allowing for a shared perception and emotional direction.

In most of my works, I choose perspectives that resemble a partially obstructed view — such as a wall or architectural structure placed in the foreground, with a scene visible beyond. This method functions like visual framing, where the eye is directed by what's in front before gradually being led into the depth of the image. It’s a layered, progressive way of seeing — not something that reveals everything at once.

I'm particularly interested in architectural elements — the flat planes of concrete surfaces, the geometric forms of buildings, and the orderliness of lines and empty spaces. From a painter’s perspective, these become an exploration of the relationship between "mass" and "void," achieving visual balance without requiring a clearly defined narrative.

Another aspect I’m drawn to is the surrounding atmosphere — trees, flowers, blades of grass, or even the qualities of light, color, and shadow. These provide an emotional charge without the need for verbal explanation. They become a source of stimulation. I feel that seeing is not just a matter of eyesight, but an experience perceived through both the body and emotion.

My creative process places importance on the “rhythm of seeing” — as if the physical eye is slowly rotating, like a camera adjusting its focus. When these images are developed into paintings, I don’t see them as single, self-contained visuals. Instead, I think of them as “a sequence of visual storytelling” where each image has its own rhythm, order, and continuous connection to the next.

I also consider the “viewing distance” of the audience — encouraging viewers to step back and observe the overall composition or move closer to engage with the details. It plays with levels of perception, much like nature itself constantly changes depending on the distance, angle, or moment from which it is viewed.

I hope that when people enter this exhibition, they embark on a journey through thoughts and memories — seeing images of places and moments that have passed but still hold influence and echo within us through memory and emotion, reflected in my work.

CNTRFLD. Your paintings seem to sit between reality and memory, with delicate lines and subtle textures. Why have oil and acrylic become your chosen mediums to explore these themes?

PS. For me, the qualities of oil paint — its gloss, density, and realism — are well-suited for specific parts of a painting where I want certain areas to have depth and a sense of light and shadow.
Using oil painting techniques was a convention during my university years, where the curriculum emphasized mastering oil paint as a primary medium. Because of that, I found it difficult to let go of those established beliefs and methods.

However, later in life, I entered a period where my time for making art was limited — due to working to make a living and managing other responsibilities. That shift made me reflect on my creative process and on the role that material qualities play in my work. It led me to compare techniques, and through the process of working on this series, I came to a clear realization: using acrylic paint allows me to feel more at ease and natural, especially when compared to how I worked during university.

The freedom of movement, the rhythm of the medium when paired with acrylics — it's fluid and aligns beautifully with the organic nature of my visual language. I feel more comfortable allowing certain parts of the image to flow, leaving behind traces and water-like marks that evoke motion and presence.

CNTRFLD. As a woman artist working in Thailand, have there been any challenges or opportunities that have shaped your career? How do you navigate your path in a male-dominated industry—or do you see things changing?

PS. In fact, this has become increasingly normal nowadays, as we now see many female artists producing outstanding work and gaining wide recognition in the art world.
Opportunities for women to express themselves and develop their skills in the art field have expanded significantly compared to the past. Although some areas of the art world are still perceived as male-dominated, the reality today is that female artists are playing a more prominent role, and many are honing their craft to a high level.

What’s most important is placing oneself in environments that support and provide opportunities for growth. And we’re seeing more and more positive changes — whether in terms of visibility for women artists, being invited to participate in events, or being featured in major galleries and exhibitions.

CNTRFLD. What’s your view on the current support system for emerging artists in Thailand? Are there specific platforms or communities that have played an important role in your development?

PS. Growth in the art world still needs to begin with consistent work and being honest with oneself — trusting and deeply understanding your own thought process, regardless of whether an idea seems simple or complex.
Ultimately, it comes from your own mind and emotions, and most importantly, it holds value and truth for you. Our role, then, is simply to bring that idea into concrete form as much as possible — through our work.

In addition, building your identity and presenting your work online plays a major role today. Whether through social media platforms or portfolio websites, these tools allow us to reach diverse audiences and connect more easily with people in the field. They’ve become essential tools for creating new opportunities — be it collaborations, exhibitions, or even clients.

In terms of community, there are many groups that support artists, especially independent or emerging artist networks that regularly organize workshops, events, and knowledge-sharing activities. Being in such an environment helps keep us growing and provides a clearer vision of our artistic path.

CNTRFLD. How do you balance observation and imagination in your creative process? Do you work from life, memory, or something more intuitive?

PS. I let everything unfold very naturally — things may not always be balanced in a clear, structured way, but everything is interconnected.

Some elements I come across by chance, others I seek out intentionally. And all of it ends up becoming part of the work — whether it's what I see, what I remember, or what I feel instinctively. These things blend together organically. Some pieces begin with a visual in front of me, others start from an inner feeling and gradually take shape in the artwork.

CNTRFLD. Are there any current or upcoming projects you’re excited about—either in Thailand or internationally? What directions are you hoping to explore next in your practice?

PS. The project I’m planning as a continuation of my previous exhibition will still center around personal experiences I’ve lived through.

I want to convey the emotions tied to different moments in time, allowing the audience not just to view the work, but to truly feel and enter those moments with me — as if they are experiencing them alongside me.

CNTRFLD. Where do you see yourself five years from now—as an artist, and as a storyteller? And what advice would you give to young artists who are just beginning their journey in the arts?

PS. In the next five years, I still want to continue creating art that tells my own story.

I believe that communicating emotions and experiences through art is powerful, and if done consistently, it will always lead to new discoveries.

For young artists, I would say: trust in what you’re doing. Even though there may be times when you feel uncertain or don’t see clear results, if you work with intention, your work will eventually reach those who understand and will carry forward the emotions you’ve expressed. It all begins with what happens to us personally, through reflecting on what we create. Once we believe in ourselves, the audience will believe too.

About the artist.

Pansupa Sitthirak, born in 2000 in Chai Nat, Thailand, graduated from Silpakorn University. Using oil and acrylic techniques, she draws inspiration from her surroundings. Her work explores how images shape experiences and memories, believing that an individual’s identity is influenced by their environment and challenges. Through her art, she creates a bridge between the real world and the world of emotions and imagination, conveyed through simple yet powerful visual storytelling.

With thanks to Louis Supple and Supples Gallery, for facilitating this conversation.

About Supples Gallery.

Supples is a contemporary art gallery based in Bangkok, showcasing emerging artists from Southeast Asia and Europe.

Founded in 2023, The gallery's primary mission is to work with emerging and early career artists from both Southeast Asia and Europe, with the intention of developing an ongoing cultural exchange between the two regions.

With a particular emphasis on discovering and nurturing new and unrecognised talent, the core values of the gallery are centred around the belief in opportunity and community.