In the bustling corridors of Srinakharinwirot University, it is nearly impossible to miss the artist who looks like she stepped directly out of her own canvas. Clad in a signature red-and-white striped shirt, Napakorn Kaewsungnoen—known to the art world by her pen name, Pa-Bai—navigates the tension between academic rigor and a deeply personal philosophy of imperfection.
A fourth-year student majoring in Painting within the Visual Arts department at the Faculty of Fine Arts, Napakorn is carving a niche for herself that transcends the traditional boundaries of a university studio. Her work is defined by a refusal to cling to perfection, instead embracing a “semi-abstract” and “Naïve Art” aesthetic that mirrors the inherent flaws of the human experience.
At the center of her portfolio is “Ta-Ta,” a recurring character who embodies the art of simply existing. Often depicted lounging or napping alongside a cat named Imon, Ta-Ta serves as a visual manifesto for self-acceptance. For Napakorn, the character is a companion for those who sense incomplete, grounded in the belief that no human is ever truly perfect.
The Architecture of Imperfection
The visual identity of Ta-Ta—specifically the red-and-white stripes—is a calculated nod to the legendary Pablo Picasso. Napakorn notes that during the 1950s, Picasso frequently wore striped shirts. To avoid the commonality of black or blue stripes, she opted for red, creating a vivid, iconic marker for her character. This blend of art-historical reverence and personal whimsy is a hallmark of her approach.
While Ta-Ta represents a state of “Self Love,” Napakorn candidly admits that the creator and the creation are not always in sync. While Ta-Ta is content in his own skin, Napakorn describes her own journey toward self-love as a gradual, often difficult process. “Ta-Ta loves himself, but the person drawing Ta-Ta has never really been able to love herself,” she admits, viewing her art as a way to practice the extremely acceptance she wishes to feel.
This emotional honesty extends to her technical choices. Her work blends oil pastels, oil paints, colored pencils, and 6B graphite. She describes her style as “painterly,” where clumps of color and visible brushstrokes are not errors to be corrected, but charms to be preserved. Over time, she has moved away from the compulsion to “clean up” her canvases, choosing instead to let the paint fall where it may.
From the Studio to the Bookshelf
Napakorn’s transition from student artist to commercial collaborator came through a strategic pursuit of her goals. Long a fan of the “Fine Art” aesthetic used by P.S. Publishing, she submitted her portfolio to the house, eventually securing the opportunity to design book covers.
The project was a significant departure from her usual autonomy. Known for avoiding commissions to maintain creative control, Napakorn pushed herself to operate within a brief for books exploring LGBTQ+ themes. The result was a series of hand-painted canvases that were later scanned into digital files, ensuring that the physical texture of her work remained present on the printed page.
The process was grueling. For five days, Napakorn balanced exhibition duties by day and cover painting by night, often working until dawn. Despite the exhaustion, the sight of readers picking up her books in stores served as a validation of her discipline and ambition.
The Discipline of the Introvert
Despite the whimsical nature of her characters, Napakorn operates with a rigid, almost corporate level of discipline. Since high school, she has maintained detailed daily and weekly schedules to combat forgetfulness and ensure productivity. This structured approach allows her to manage the emotional toll of her work, which she describes as heavily dependent on her internal state.
She identifies as an “Introvert Level Max,” preferring the role of the listener over the speaker. This quietude is where her most poignant work is born. Her piece “Rattikan” (Nighttime), a monotone study of a moment where she felt nothing, reflects her belief that not every emotion requires a clear answer—sometimes, the result of the feeling is enough.
Her approach to growth is rooted in action. When asked for advice for aspiring artists, her answer is singular and insistent: “Do it. Just do it. If you don’t do it, you get nothing.” This pragmatism is what has driven her to move from the classroom board of her kindergarten years to the galleries of her early twenties.
Looking Toward the Horizon
As she nears the completion of her degree at Srinakharinwirot University, Napakorn is focused on her final thesis. She continues to challenge the expectations of her professors, insisting on characters who do “nothing” but lounge with cats—a choice that reflects her commitment to the beauty of the mundane.
Her ambitions now extend beyond Thailand. She envisions a future where Ta-Ta is recognized globally, seeing the character as a universal symbol of imperfection. For Napakorn, success is not a sprint but a steady walk toward a studio where she can paint every day, one imperfect stroke at a time.
The next major milestone for the artist will be the submission and defense of her senior thesis, which will serve as the capstone of her academic journey and the launchpad for her professional career as a full-time artist.
Do you find solace in the “imperfect” side of art? Share your thoughts on Napakorn’s work in the comments below.
