 Hi, thank you everybody. So I was asked to make a feminist statement relating to the show, and I prepare a written statement that would be easier for me to let and just speak off the cuff. Feminism has given me a new awareness and a language to conceptualize artwork. The feminist strategy erased the boundary between personnel and public. It enabled me to make an easy transition in my work from biographical to social content. I moved from Bangkok to New York City in 1973 at the end of Vietnam War. Although my childhood memory of the war was short, it was long lasting. My view on sex, money, and women has been profoundly affected. Thai women were not just grandmother, mother, sister, aunt, teacher, or doctor. They were looked upon as prostitute. During the Vietnam War, my parents were medical physicians assigned to work at a northeastern border hospital near Vietnam. My experience of America started there in Thailand. It came via Playboy magazine, girly transparencies, noisy jet fighters flying over my house, music, food, and VD centers next to goga bars at vacation spots created to accommodate the US military present. Back then, Thai women were also casualties of this military conflict. As in my mother's story of her daily work that included mending the uterus of bar girls injured from having sex with American soldiers. After the Vietnam War, the leftover sex industry was disguised as legitimate tourist industry. And in 1990, Thailand declared itself as the epicenter of the AIDS crisis. During the time of global economy, we have seen the explosion of sex tourism and human trafficking. Images of male order bride escort and massage services appear on the internet in unclassified ads, making art its way to make sense of these experiences. The artworks I'm showing here are exploring a creating of feminine identity through found magazine images, historic object, Eastern religious motives, and classified advertisement. These photo montage sort of homage also to knowingly to Martha Rosler and other pop artists. Start with the number 21 victory of the goddess. You can see the Thai temple painting in the background. And Playboy Girls of the World, Shia Moen, she was a Taiwan highest paid model according to the Playboy magazine in 1971. She was also a painter, appeared in films, and has written two novels. And image number 22 and number 23 is Prince Palace, 1965. That's the title. It's also called Friendly Pornography. Here I explore the American male culture and its influence on the Thai via recollections of my early childhood during the Vietnam War. Employing American military weapons and artillery, the seductive images of Western women to represent the invading modern culture that was visiting upon Thailand landscape. Images source are from Playboy magazine in August 1965, F-16 fighting Falcon aircrafts, and family portrait. The number 24 is called Roamis Universe, or Friendly Capitalism. It's a portrait of Apasara Hong, the 1965 Thai Miss Universe is smiling over the bursting dollars. Damn, cartoon panel from Walt Disney, Uncle Scrooge, in Only a Home, Old Man. An MK-82 bomber used in South Vietnam dropping erotic bomb of magenta orchids over the Kham-Geshing Silver Dollar. This is the birth of Asian beauty as universal commodity and a coming of American purchasing power. This is from this, different pieces from the series of Le Thamon Road and Fever series, which is represent of inkjet figure taking from the Thai portrait stamp that you see on the lower right. I cut out these images and make digital work, and I place these women the figurine inside metaphorical icons, such as sapphire bubbles and diamonds who represent precious commodity. On the upper left, the rubiescape, it's a digital print, and the background is from a medical slide of autoimmune disease, which also acting as a landscape background. The number 26 is the piece in the show here, it's a plexi light box. Number 27s are two images from Ruby Chang, or a red stream. There are 300 strass pair shaped crystals with inkjet prints transferred manually on crystal with red food dye and acrylic medium, and various red jade beads attaching to 10 foot metal bicycle chain with nickel pins, wire, and Christmas light. And the ship fever is illustrated in the catalog. It's a homage to women workers in the international tourist industry, and it is a visual analogy between historical middle passage ships and the exceeding arrangement of modern passenger airplane. Replicated figures of women in traditional dresses taken from the Thai postage stamp, and these figure represent images of hospitality and wholesomeness that are the commodity through which industry attract and sell services. This is my collage series, works on paper, and they are taken from six ad from Village Voice. There are, these are telephone numbers from the classified ads, so I call them working numbers, phone numbers, work numbers. And if you notice the font that say Asia sort of sexualized font in the ad in the back, the same ad from the Village Voice, and also pseudonym, the pseudonames of next to image of Asian women in the massage ad in the back of the magazine, from the same sources. So these small scale mixed media collages on craft paper and watercolor pencils drawing on my response to the Village Voice Asian sex ads. The advertisement are colorful portraits of Asian women for sexual consumption. The ad sells their service by employing stereotype, giving pseudo-exotic names to the women, and strange cropping of their body, framing faces. And I transform these images or rather transfigure them into goddesses. I'm using element of horror and humor found in Himalayan religious painting and Asian horror cinema, as well as following stream of consciousness through free association with other cut out pictures from jewelry and flowers catalog. The Himalayan art following the Buddhist teaching or dharma is portrayed in Himalayan paintings. There are tools for meditation to the path of enlightenment. These paintings portray awesome deity with peaceful form, other with frightful expressions and sceneries, some of floating on clouds and seated on flowers. The wrathful ones are surrounded by fire bejewels with strings of pearls and decapitated heads. These deities show their power of compassion in colorful fantastic cosmic battle against obstacles such as hatred, obsession, pride, jealousy, and ignorance. This is my latest series, which is the source of the images come from Christie auction sales catalog. Here I explored the idea of women through material objects. And the discretion and pedigree of the sales object has much present as the anonymous person or the object themselves. And the title of this series called the property of a lady is a drawing of feminine persona and is anonymous, wealthy person whose material inheritance is representing her identity. In this context, colonial reference come to mind. These jewels are made from precious stones procured from European Empire expansions. The stones, some famous with legend or lore walk quite through walls, military conquests and trading, changing hands from kingdom to subcontinent Africa, Europe, and the New World. So there are the material is shaved graphite on metallic powder with acrylic medium and graphite wash on belemts. So that's it. Thank you.