Hi everyone! I painted these pieces back when I was just starting out as an illustrator (not quite sure of the exact year, but likely before 2010). At the time, I was completely fascinated by the works of Lisbeth Zwerger, Jean-Jacques Sempé, Julie Morstad (the inspiration behind “We Love Tiny Line,” one of my very first handles when entering the illustration world), Mitsumasa Anno, and Jimmy Liao. You can clearly trace the influence of all these artists in this collection.
Back then, I also loved reading The Borrowers by Mary Norton. I had so much fun imagining how magical the world would look if we shrank down—pencils, books, or even a simple soda bottle cap would seem extraordinary. Plus, a regular-sized cookie would feel huge, meaning we could eat so much more of it! (Total win!!) I genuinely enjoyed capturing all those tiny details.
You’ll also spot traces of my deep appreciation for Ernesto Neto, one of my favorite artists since my university days—specifically in the piece featuring two people hugging with a soft sculpture between them.
In another piece, I referenced a poem by Emily Dickinson. I must have been so sleepy while working on it because it’s full of typos! It makes me laugh reading it now, though the poem’s meaning remains wonderfully deep.
“Such is the Force of Happiness” By Emily Dickinson
Such is the Force of Happiness—
The Least—can lift a Ton
Assisted by its stimulus—
Who Misery—sustain—
No Sinew can afford—
The Cargo of Themselves—
Too infinite for Consciousness’
Slow capabilities.
——
Looking back, I was clearly obsessed with patterns—endless tiny dots, fine lines, and linework pens. The entire series was painted with gouache on paper (most likely watercolor paper from Canson or Fabriano).
This collection was originally a commissioned project to create a corporate calendar (special thanks to Panithita Kiatsupimon for giving me that opportunity back then!). Since the original artwork rights remained with me, I ended up keeping them tucked away in my cabinet for a very long time.
Now, at 40, taking these paintings out and looking back, I see so much raw honesty and youthful energy embedded in every stroke. It captures a time when I didn’t worry so much about moving “slowly” through life.
Four pieces from this series have already traveled to the US, and another three are on their way to my lovely, ever-supportive younger sister. If you’d like to bring some of this energy into your own space, feel free to send me a direct message via https://www.instagram.com/yodchattinyline/ or contact@yodchattinyline.com
6,500 THB each (Free shipping in Thailand)*
Original gouache painting (28 x 17.7 cm)
Pieces marked with a red dot are unavailable.
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The following pieces are unavaliable
Back then, the brief for this piece was about “making merit,” which in a Thai context usually implies going to a temple. But I wanted to focus more on the feeling of letting go. That’s why the temple is drawn far off in the distance, without any conventional Thai traditional elements.
Surprisingly, this painting resonates so deeply with my life in 2026.
I just went through a major lesson in letting go. Having never experienced anything like this before, I learned that it’s possible to release things we’ve poured our hearts into for 4–5 years, or to walk away from relationships, when they no longer align with who we are and our current core values. It might not mean letting go completely without ever looking back, but having the intention to let go and taking whatever action
I can is enough for me to tell myself that I’ve been truly brave.
the beginning of my love for drawing cards (which later turned into my Tarot and Oracle obsession!).
It’s just a regular playing card here, you can see the diamond symbol in the corner. I probably didn’t think much about the meaning back then, but diamonds actually represent wealth, good fortune, summer, and youth.
Looking back, it fitted that chapter of my life so beautifully—a time full of youth and exciting new beginnings.
I even wrote a short poem back then:
“ซ่อมแซมแล้วบ้านเก่าเจ้าพระยา
ผู้ผ่านมานั่งเล่นหลังเย็นย่ำ
ฝนปีบโปรยทั้งหมดฉันจดจำ”
This poem is written in traditional Thai Klon Paed (an eight-syllable rhyming meter). It describes a passerby looking at an old riverside house along the Chao- Phraya River that has been lovingly restored, soaking in the late afternoon atmosphere. The lines picture Dok Peeb (cork tree flowers) falling like rain onto the ground—a vivid scene the speaker keeps close to heart.
When read aloud in Thai, the rhythmic cadence sounds slow, gentle, and softly melancholic.
I believe that if these qualities were once inside me, they are simply waiting to be reawakened, this time with more wisdom and a deeper understanding of the world.
I can feel the encouragement my past self sent forward through these paintings.
I hope this good energy finds its way to you, too.