Voices Magazine 8 by Concordian International School
Concordian International School
May 30, 2025
Dear Concordian Community,
Welcome to our 8th issue, 2025 edition of VOICES.
VOICES magazine promotes creativity in Concordian International School by encouraging and providing this platform to publish and appreciate our agency, ideas, and talent.
The theme of this issue isSpiral.
We examine the growth, change, and the journey inward, metaphorically represented by the spiral symbol. The multi-layered symbolism of the metaphor can be represented through the shape, the journey, or the twists and turns of the paths people take.
Through art, we are able to capture the unpredictable nature of what the past, present, future hold, keeping us reflective of each change and each new discovery we find into a deeper understanding of ourselves and what it means to be human.
Voices is the compilation of the efforts of many. The team would like to give special thanks to Khun Varnnee, Ms. Baertschy, Ms. Abby, Ms. Prinz, and the brave and brilliant who share their artistic endeavors.
This edition aims to be experimentally whimsical and offer a look of what Spiral can mean to the voices of the community, offering diverse perspectives through individual and collective experiences.
This hand carved linoleum plate depicts a figure being suspended in the air with radiating lines, metallic and unmoving as if it were cast in stone. The silver figure evokes a statue forever stuck in time, untouched and unchanged. This piece marks the start of my journey when I felt trapped with precision and imperfection. It speaks to the paralysis of self-doubt, the moments before the unfolding begins where potential exists but remains undiscovered.
Beyond the gates
PewtermetalEmbossing 21cmx30cm
Ripples of reflection
Pottery plaster tiles cast from mould sculpted using earthenware clay. Resin tiles cast from pottery plaster tiles with accompanying mirrored plates. 40cmx40cmx4cm
Inspired by ripples in water, this resin and plastic piece symbolizes reflection both literally and internally. Each circular ring of water represents a moment of looking inward to consider who I was, who I am, and who I want to become as an artist. The translucent material evokes clarity and introspection. Through this process of reflection, I began to grasp a better understanding in the direction of my creative voice and the artistic identity I hoped to shape.
This embossed metal gate represents a barrier between comfort and adventure. The intricate patterns symbolize the comfort of familiarity, yet the gate itself confines me within a limited space. It reflects a time when I hesitated to step beyond my comfort boundaries, restrained by fear of the unknown and unfamiliarity. This piece captures the emotional tension of looking outward, but not yet ready to move beyond what feels safe.
These landscape drawings created on location in Thailand and Korea, created with pens and watercolors, are places deeply that are familiar to me. Familiarity allowed me to draw beyond the surface, adding subtle and personal details that an image cannot capture. These pieces represent a moment in my journey where I found comfort in the known, using it as a foundation to refine my technique while gently beginning to express a more personal artistic perspective.
This pair of drawings were made when visiting France and Italy, places experienced but still I feel unfamiliar with. Unlike previous works rooted with familiarity, these pieces mark a step beyond my comfort zone. Though they contain fewer personal details, they represent a step towards exploring the unknown. This shift reflects the early stages of creative risk-taking and the realization that growth often begins where certainty ends, and it is perfectly fine to step outside my comfort zone.
Created with fineliner and later on digitally manipulated with procreate, this piece was inspired by the architectural sketches of Nikita Busyak’s work. The illuminated windows symbolize a glimpse of light, representing my restraint from within wanting to break through. Referencing another artist allowed me to experiment through trial and error, helping me understand which visual elements aligned with my evolving style while learning to adapt influence into personal expression.
Flawed but free
Lost and found
AcrylicandGouacheoncanvas 38cmx33.5cmx6cm
This gouache painting on canvas depicts a realistic lost-and-found box, inspired by Natalie Featherston’s trompe l’oeil technique. A technique called “to fool the eye.” A lost and found box is a box filled with misplaced objects, items once important that are but temporarily lost, only to be found and given a second chance. Created during a reflective stage of my journey, this piece explores the idea that discovering one’s artistic voice often involves reclaiming forgotten parts of the self.
These vibrant lino prints are a revisiting of my first piece, representing the creative breakthrough of discovering my artistic identity. The radiant colors symbolize freedom and growth, while the medium itself carries meaning. Lino Printing reveals minor carving imperfections, reminding us that expression doesn’t require perfection. This piece marks my emergence from creative restraint, embracing experimentation, and the colors evoke the joy of stepping beyond my comfort zone.
Glued back together
Oilpaintoncanvas 60cmx76cm
This oil painting represents my journey of embracing my Thai identity, symbolized by the Thai design plates that form part of the figure. The gold accents, inspired by the Japanese art of kintsugi, hig the beauty in mending what is broken. By merging cultural elements and the philosophy of restoration, this piece reflects a turning point where I began to view culture not as something separate from art, but as a foundation that shapes my identity and creativity.
Human Connections
Smita
(Minnie) Deeritdecha
HOME
AcrylicsandPoscaPensonCanvas,Shoesnailed onCanvas
70x80cm
The feeling of returning home is a feeling I cannot explain; something so deeply rooted in warmth yet comforting in its simplicity. Returning home for me feels like a relief from the outside world, where I am joined by my siblings and surrounded by the familiar hum of daily life. The objects that we share and our everyday routine bind us together, a place where I return to.
THREE
Gouache,coloredpencilsonpaper 42cmx59.4cm
In Chinese customs, it is believed that zodiac signs play an important role in determining the course of our lives, and our connections to others. My siblings and I carry traits reminiscent of our zodiac signs, something that intertwines us with one another and our own culture. My sister, embodying the Chicken, myself, the Pig, and my brother, the Ox, each personify the distinct traits of our respective zodiac signs. Our signs not only reflect who we are, but also the ways we complement one another.
STEEPED
Coloredpencils,Chineseinkonpaper 20x30cm
I had the shameful realization that I had very little memories of my grandfather. All I can remember is his distant desk as he waited for the time my sister and I would wake up from school, preparing a simple set of tea for us to drink. I remember my grandfather through the distant scent of Chinese tea, reminding me of the rituals of family, even when details are hazy. When I reminisce about him, tea reminds me of quieter times, quieter moments of connection, inspiring the mediums I have used for this piece
BETTA FISH
Coloredpencils,Chineseinkonpaper 20x30cm
WhenI was young, I took care of two Betta fi fishes. I don’t remember exactly when they left my life, or when I stopped seeing them every day when I came back home. The things around us, the people around us, swim away from us, without us knowing or even seeing it. I aim to represent these fleeting relationships, ones that fade away from memory before we even notice that they’re gone.
BEASTS
Coloredpencils,Chineseinkonpaper 20x30cm
Two beasts interwoven, on their way to their destination. They head to a dream-like future, forgetting the juxtaposition of their nature. Their path, though shared, is a quiet dance between opposing forces, as they leave behind the discord of their differences, drawn instead by a shared, elusive vision. The two opposing figures, forever drawn together, yet torn by their own characters. The piece speaks about an intimate connection, where unity and discord coexist.
PRECARIOUSNESS
Gouacheonpaper
21cmx14.8cmeach
Subtle actions, subtle movements, and subtle expressions that we create ultimately shape how we connect to others. Our bonds, although may be strong but they are fragile; ended with a single movement, a single word, or a fleeting glance. In a moment, a shift in tone, a pause in a conversation, or a change in body language can alter the trajectory of our connections, for better or for worse. The piece aims at exploring the delicate nature of human interaction, where anything can cause a profound impact.
METAMORPHOSIS
DigitalIllustrationusingProcreate,PrintedonCanvas
59.4cmx84.1cm
We constantly go through changes, whether we like it or not, or whether we notice it or not. Inspired by the book The Metamorphosis by Franz Kafka, this digital illustration attempts to describe the feelings of intense rapid change of identity, where everything changes in a flash of an eye. Similar to the main character in the novel, Gregor Samsa, I believe that our lives are often shaped by abrupt and uncontrollable changes that redefine our sense of self and place in the world.
LADY IN THE LAKE
Acrylicsandorganzaclothoncanvas
60cmx70cm
The Lady in the Lake lies in a body of water: simmering, reflecting, a stillness that holds stories untold. Beneath her calm surface, where silence speaks louder than words, a sense of loneliness that forever reaches across time, just like the lake, never truly still. Devoid of any others, we must silently reflect on the present to move to others, the ripples of the water showing the weaves of connection we make to ourselves.
What is the best way to immortalize your love? What other ways can you ensure that the one you love is forever embedded in your essence, other than to become fully one with them? Food is more than just nourishment for the body; it’s nourishment for the soul. I wish to represent a deeper form of immortalization, where pieces of a partner’s physical essence are consumed to be preserved within us and our essence.
Like a shell, our feelings serve as a way to protect ourselves. To understand, to cope, to process what we think and know. This textile piece aims to do so, representing complex, often mismatched feelings and emotions visually. The piece aims to explore the intersection between mind, body, and behavior, showing how my internal emotions are shown externally for others to understand me.
INTERTWINED
GouacheonPaper
29.7cmx42cm
Our lives tie us to one another, and we create our own relatedness through our own weaving. No matter what we choose, and no matter what paths we take, the threads of our journeys intertwine, forming an ever-evolving tapestry of shared experiences and quiet connections. This intricate weaving is a testament to our interdependence, a reminder that even in our solitude, the bonds we create can echo through time, guiding us back to the common ground we all share.
The artwork consists of multiple buildings in the process of construction, as seen by the cranes. Each building used the same color paper and black oil pastel, ultimately making each building look more or less the same. The red crosses across the crane explore the thought experiment—what if construction were halted, leaving the only bare structure? Here, simplicity and uniformity are optimal. No building appears more special than the other; all exist equally.
This artwork is a depiction of brutalist buildings made from concrete. The dark monolithic structure has a generic and predictable form. What stands out, however, is the environment. The little shiny stars and milky ways cluttered the dark sky; the colorful green leaves sat on the bottom of the piece. Every element of the environment seems to outshine the architecture itself, embodying the core principle of brutalism, where architecture is not an ornament while the environment is the soul.
Kowloon Walled City Ink,charcoal,oilpastel
40cmx60cm
The artwork is a depiction of Kowloon in the evening. The piece depicts a walled city that is closed off due to the structure of the buildings. The red color scheme can symbolize prosperity in Chinese culture, yet evoke a sense of danger. The Chinese characters are inspired by the artist King of Kowloon, a schizophrenic man who vandalized the streets of Kowloon, claiming to be the king. This piece does not explore beauty in a conventional way, but finds beauty in difficult circumstances.
Lotus City
Watercolor,pastelpencil,tracingpen 40cmx60cm
Watercolor techniques are used to accentuate the fluidity of water, the expansiveness of the sky, and the organic form of the leaves. This piece incorporates traditional Thai motifs, such as plants native to Thailand as well as Thai architectural motifs. This piece explores a time when humans cohabited with nature. Historically, Thai people maintained a deep connection to their environment—building houses on stilts to adapt to rising water levels, and living along the river.
‘I like my peaceful life in the suburb’ 1 Linoprint,oil-basedetchinginks,lightweightcartridgepaper 20cmx50cm
The lino print exhibition has a maze-like shape with all the houses closed in by the roads creating a sense of security, comfort, and coziness. The linocut allows for each section of the piece to be uniform and predictable, reflecting the safety and stability of suburban life.
‘I like my peaceful life in the suburb’ 2 Linoprint,oil-basedetchinginks,collagedcompositionsofsourcedimagesfromlocal newspapercuttingsandlightweightpaper 30cmx75cm
The lino print exhibition has a maze-like shape with all the houses closed in by the roads creating a sense of security, comfort, and coziness. The linocut allows for each section of the piece to be uniform and predictable, reflecting the safety and stability of suburban life.
‘I like my peaceful life in the suburb’ 3 Linocarving 30cmx75cm
The lino carving shows the process of printmaking for the first two editions of Ilikemy peacefullifeinthesuburbspiece. It is spray-painted green to reflect the tranquil nature of life in the suburbs.
The body, interrupted Chatawee (Grey) Nanvimolchai
tempted
Gouachepaintingonmediumweightpaper 22cmx38cm
There is an unspoken danger of existing in a body that is still forming, and the weight of being seen as something to take before it ever gets to be. The snake’s gaze parallels the way a girl is watched and molded, groomed and expected to become a certain kind of woman that is not only desirable but also docile. The cocoon is untouched, but never safe. This work portrays the fear of growing, when the world is already waiting to consume you.
The premature cutting of the cocoon mirrors the systemic suppression women face before they are allowed to fully form. With wings still fragile and flight unwelcome, they are expected to remain within the confines of what is given, not meant to ask for more, not allowed to hunger for more than they can swallow. This work examines the tension between imposed limitation and inner will. Despite constraint, there is a quiet persistence, a rise that solemnly defies expectation, or the lack thereof.
Butterflies meant to freely flutter in the wind, here pinned down. The act of becoming is interrupted and its body becomes a specimen to marvel at, stripped of motion and will. Women are often treated the same, preserved for beauty but never to do more than just that. To be looked at is to be held in place. To be delicate is to be denied flight. These are the conditions that come with the performance of femininity in a patriarchal society. The ideal woman is quiet, still, and contained.
The fruit is full, but it is not for her. She ripens, not for herself, but for those who look. It is inedible. Bitter. Perhaps even poisonous. But that doesn’t matter, because it looks beautiful. The color is enough. That’s what draws them in. They do not care if it nourishes, if it wounds to hold, if it spreads too quickly. They reverently, or really, hungrily gaze at the red. Never once asking what it costs the plant to stay that bright.
born from blood & seed
Acrylicandgouache paintingoncanvas 40cmx120cm
Apples and pomegranates are symbols of femininity that persist through time and tradition. The apple is eaten for its flesh, with its seeds discarded. The pomegranate is picked apart for its seeds, with its shell discarded. One devoured, one hollowed. Both reflect how women give life to everything yet are prized for what they offer, not who they are. Always consumed, always parted out, yet never entirely theirs to claim.
There’s a certain level of expectation that comes with living inside a woman’s body. You’re expected to look a certain way and take as little amount of space as possible. But I don’t want this hunger. I can starve myself and leave my stomach empty and look into the mirror with comfort but I will never be satiated, never satisfied. The damage doesn’t go away. It just gets threaded back together, poorly, barely holding. And still, the hunger stays.
the right to take up space
Digital illustration created with Clip Studio Paint
40cmx50cm,30cmx40cm
The body folds inward, not out of innate fragility, but the desperation to cling onto the only remaining redeeming quality left, the inability to insist. The foot hesitates to break the thin string, unsure if it’s allowed to land. Years of guilt, shrinking, and silence pressed into the skin. To remain and stay in this body is terrifying but there is a quiet defiance in standing your ground, refusing to disappear, and daring to take up space.
well, i’m not the moon, i’m not even a star
Acrylicandgouachepaintingon cartridgepaper
21cmx30cm
You’re born with qualities you can’t change, and they’re supposed to make you who you are. You’re supposed to be beautiful, supposed to accept it, because it’s the body you’ll live in forever. But I don’t. I am not the moon or even a star, as inspired by musician Mitski’s lyrics to Your Best American Girl, a song about being excluded from the version of beauty made for someone else. She isn’t the fetishized or palatable image of her culture. And when you look at my monolid eyes, neither am I.
iwouldgivelifeup,butiwouldn’tgivemyselfup
Acrylicandacrylicgouacheoncanvas
30cmx40cm
A dead raven lies on a shoreline. To loosely quote Edna Pontellier from The Awakening by Kate Chopin, the unessential may be taken, but not the self. She lives in a world that does not exist for her. In the end, she walks into the sea and does not return. Her death is not surrender but a deliberate act of selfpossession. In death, she chooses herself. In this piece, the bird is a representation of her, a final gesture of refusal and quiet liberation.
The Ballad of Life Sikkima (Opal) Sikkima
Entanglement
Alternatively, Choreomania: the social phenomenon of dancing mania in medieval Europe. The shared experience of joy and freedom in life through the dancing figures holding hands in a circle. The glowing body radiating emotions, happiness, sadness, frustration that are too strong to hold back, blasting through the expressive stroke. The force of humanity, stripped bare to the soul, overcoming the darkness that surrounds us.
The Tree Remembers
Clay
20 cm x 22 cm x 18 cm
“The axe forgets, but the tree remembers”
An act of cruelty by one, paid by another. The oppressors will forget those they have harmed, while the burdened will always remember the face of their killer. The body of the tree will erode with time, die down, overgrown by moss and microorganisms. Forgotten.
No, memory doesn’t die. The life and tale of the trees will be passed down, from generation to generation, from a tree to a hundred million fungi, from the soul of one to another, never fading away.
Lay Me Down to the Depth of the Unknown: on transient
Watercolor paper, oil pastel 21 cm x 29.7 cm
Our mark on this earth will soon be blended with that of nature. The thing that was us fusing with what wasn’t. Blood and bones disappear into bogs and blossoms. A saddened face reminiscing the past. To be real is to be one with our surroundings, and to be human is to be vulnerable to change. It is this truth that grounded us. To be scared of the unknown future, of death, and of endings. This piece is about the beauty of acceptance and impermanence.
Oil on Canvas 60cm x 80 cm
ฆ่า(ข้า)ไม่ตาย “undeath”: on eternity
Acrylic on Canvas
80 cm x 60 cm
The grabbing hands reach down from the concrete castle. An act of oppression and an attempt to silence the voice of Truth. The reaching hands, coming up one by one against the polluted force, weak on their own, strong in unity, represent the power of the people, of nature. The hands will keep reaching up, for the search for freedom is so natural, while the need for control is brittle. One day, the truth will come out, the ideas will live on. In Thai, a play on word: I am alive, and I am unkillable.
equilibrium
Beads, Embroidery thread, cloth
27 cm x 27 cm
This artwork represents the integral ties between hu-mans and nature. A face consumed by vegetation and life forms, feeding out of the flesh of one body, keep-ing each other alive in some ways. This is pure, raw, a beauty personified. Life has been created thread by thread, bead by bead. This is the start of reconcilia-tion, the acceptance of our balanced state between
Dusk Beckons Dawn Sirada (Peam) Lertkangwarnklai
The Curse of Light Digitally3Danimatedon‘Blender’,foundimage 1920pxx1080px
The photo in the beginning depicts Plato’s Allegory of the cave. The first set; the living room is meant to emulate that. The TV is an imitation of real life referencing the shadow puppets. The film shows our obsession with comfort and how it erodes intimacy. The cross is ironic as the man worships him while being overworked, detached from his creation, the woman obsessed with beauty kills herself and the couple at the theater stare at their phones which is addressed at the end when the narrator wishes “to hold someone’s hand”.
The Little People in my Mind Digital:3D(Software:Blender),2D(Software:Procreate) 8000pxx5000px
This piece personifies my thoughts during exams. Ozzy screams for me to get off my desk to get a snack. Pink the examiner is insecurity, she refuses to show herself and circles my flaws in red ink. Maggie is perfectionism draining yet another cup of coffee as she clatters over the keyboard. Burt the rich man is nonchalant while Jose the free man contemplates jumping off the balcony.
To Big or to be Free Gouache
42cmx59.4cm
The leashed dog stands large in the foreground, its dark color contrasts with the background. However, despite its domesticity, it is desperate as the collar chokes it and hands, representing desire, struggle to escape from its body. Conversely, painted in the background, is the stray dog. Even so, it basks in the sunlight, high in the sky. The viewer sees the leashed dog first as the conventional life presents itself as an obvious decision, but on closer inspection, the stray dog, the inner will for freedom presents itself.
The Whisper of Departure of and Return Gouache
29.7cmx42cm
Don’t cry over growing up little girl. The hunter kills to nourish new life, and the hummingbird sings of a new Spring. You never know who tomorrow is, how you never know how the blossoms of a meadow will bloom, except that it will. Childhood escapes like paper boats but the ripples transfer energy infinitely each time whispering your name. The waters are mysterious because somewhere lies a kingdom the way your soul is vivid because somewhere lies a teenager’s sarcasm and somewhere else hides a baby’s laughter When the hunter raises her arrow, and the boats ripple the stream, a line leads you back to her
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Worms
Oiloncanvas
80x120cm
This piece depicts me as a child picking worms in a river at dawn where I examine the similarities of mine and the worm’s existence, how little we know about life, and how fragile it is. This discovery is aided with the contrast of light and dark representing innocence and experience. The eye is first drawn to the bright, contrasting colors, and clear forms. Here, is the surface of the water and of self understanding. As the eye is guided downwards by the ripples, the viewer is invited to be lost in the vast darkness.
Modern Man
Gouache,colorpencilonpaper
29.7cmx42cm
Clay
70cmx42cm
White hair twists like the wise rivers, skin wrinkles like a crackling volcano, the soul remembers like the ancient tree, joy sprouts like wild flowers. Hidden in the river is a child, representing the circle of life, a return to innocence.
Humans invented the steam engine to automate human force. They invented the calculator to automate human computing. They invented artificial intelligence to automate human creativity. This piece depicts the final evolution where man automates the soul. Hiding the face of the AI in an optical illusion represents the possible consequences of mass automation, even while it is initially unapparent. While man stands in the middle, the face of the AI creeps in. While the man is rid of emotion, the machine smiles.
Clouds
Gouache,colorpencilonpaper
29.7cmx42cm,10cmx12cm
We think we know clouds. But on a random afternoon, an English teacher points out the window and calls it a vision of infinity.
With the puff of a rusty steam engine, an old story, and a glint of sun in my eye, I discovered it.
The fact that I didn’t really know clouds at all.
Goodbye Asteroid Castle Digitally3Dmodeledin ‘Blender’ 8000pxx5000px
There is not much space in the city for children to play so me and my sisters used to really get creative. What to the world was a precarious arrangement of branches, blankets, and garbage situated smack in the middle of an overgrown parking lot were to us little milky-way bohemians, a grand castle on an asteroid headed for the next universe. I have since retired from alien exploration but with the help of modern technology, the castle is alive as ever.
Wrinkle like the River
Post-trauma Existentialism
Chanyanuch (Mily) Sakdibhornssup
Cradle of Thorns
Series of 6 Photographic Outcomes. Model (self) adorned with decorative cosmetics, and facial embellishments. Photography edited on Adobe Lightroom. Wooden frames embellished with beads, and a variety of string.
21 x 29.7cm (x 6 pieces)
The birth of traumatic existentialism parallels a helpless fly awakening on the lobes of a Venus Fly Trap. As the trap unfurls, individuals are exposed to a distorted worldview where their heightened vigilance and excessive fear lead to intense vulnerability. I depict this through surreal makeup, green-tinted editing on lightroom, and beaded frame decor with the colors of a venus fly trap. My finger placement also mimics its thorns, reflecting how existential turmoil is a form of self-sabotage.
Emergence from the Depths
Air-dry Clay painted with Acrylic Paint, Coated with Clear Nail Polish, and Embellished with Beads.
14 x 7 cm (diameter x height)
Individuals exit the void of their initial trauma, confronting a grotesque world with their eyes. Many struggle to navigate soci-ety with existential crisis, represented by hands emerging from the pupil, scrambling for meaning. Three hands scratch the eye’s irritated whites, reflecting the desire to erase a scarring past. The clay creates three dimensionality while the nail polish coat replicates the tears, portraying the overwhelming experience and organicness of existential turmoil.
Ego’s Mirage Oil Paint on Canvas
51.61 x 59.69 cm
The traumatized see themselves as hideous, weak standalones. This intense self-reflection is portrayed through the rich colors of oil paint used on the subject’s cracked glass skull and scrawny body. Yearning for normalcy, the subject conceals his frailty with an egoistic shield of strength, thus the flowers elegantly blooming from the cracks. He believes that hiding his ‘patheticness’ can protect him from judgement. Yet, he is no concern for others busy planting flowers over their own cracks.
Cerebral Deluge
Oil Pastel on Drawing Paper, Background Scratches made with Toothpick. 16 x 24 cm
This self-portrait illustrates the fibres of my head tearing as a tempest gushes out. Individuals are involuntarily dismantled from their identity with post-trauma existentialism, where each thought fogs one’s self-understanding and drains their rationality like running water. Fingerprints plaster the face, people know their vessel. Yet their essence shatters, smudged with pink wounds and the indigo smear of trauma. The oil pastel’s creaminess creates a thick texture reflecting heavy thoughts.
Blooming Facets
Synaptic Silence
Digital Art on Procreate, Black Frame. 50.8 x 76.2 cm (including frame)
This piece forms meaning through neurons with a double entendre. While they represent the grueling experience of navigating cognitive dissonance with trauma, as the subject isolates herself and loiters in her complex mental maze, it also symbolizes social connections that break. Those who find comfort in isolation view others as exasperating pests. Hence, people’s concern becomes intrusive attempts to slither through personal boundaries of refuge, forcing her to repeatedly flick them away.
Gouache on Canvas and Drawing Paper, Pen, Yarn, and Graphite. 30 x 30 cm
Blooming from the indigo hydrangea petals are six distinct faces reflective of one’s varied essence. People are multifaceted. This is portrayed through the range of media and art styles; from realism to pop art, from graphite to yarn. Trauma also triggers identity loss, leaving shards of ‘self’ from moments in existential crisis to form a new ‘you’. These ‘moments’ are parts of my other works added in this piece, such as the flower eyes from Ego’s Mirage or the art style in Synaptic Silence.
Wilted Persona
Oil Pastel
55.8 x 55.8 cm
Many wish to restore their grace after trauma stripped them of splendor. Thus, they hide their fragility beneath a persona, a glorious flower. The eight eyes symbolize the struggle of con-fl flicting perspectives. The eight lips re-flect multiple lies used to conceal one’s weakness. Layered petals stained black rot slowly inwards towards the heart, conveying how masks don’t last. The rough layering of oil pastels on the petals convey the instability of a facade despite appearing beautiful from afar.
Unraveling Solace
Acrylic on Canvas, Modelling Paste, Bead Embellishments
29.7 x 42 cm
His head’s cracks seal closed, the repulsive being returns to human form. With bead and floral decor and 3D texture replicating rain, this piece represents a solemn ‘ceremonial’ moment for the traumatized freed from existential dread. The subject faces society’s eye of judgement, detaches from its floral shield, acknowledges its cracked psyche, and embraces the fly trap it emerged from. Yet, his calves are dismembered, hindering it from moving on, representing how trauma lingers permanently.
From Sprouts to Blossom Sarisa (Design) Kanjanaparangura
One colour reveals trust and another shows distress. This digital piece represents the Trust vs Mistrust stage, through the anaglyph effect to reveal the child’s emotions of being treated to a meal. The use of dual imagery highlights emotional contrasts, immersing viewers in the child’s perspective. Viewed through the dual-colored lens, it offers a unique perspective, highlighting the contrasting emotions tied to trust from a far distance.
Free?
Oiloncanvas
50cmx60cm
“Is the bird truly free when the cage door is open, or is it overwhelmed by the uncertainty of choice?” This oil painting represents the Autonomy vs Shame and Doubt stage through visuals from the daisies that symbolizes freedom and an enclosed space of human decisions. The open birdcage reflects the tension between the desire for independence and the fear of failure, while the daisy bush invites reflection on how personal choices can lead to growth or self-doubt.
“Have you ever wanted to be the King/ Queen of your own kingdom?” This pen illustration represents the Initiative vs Guilt stage through visuals of various mushrooms, shaped like a playground. The child, being the only coloured element in the piece as the center of attention. A playground fosters creativity and imagination, symbolizing a child’s sense of ownership and autonomy. Mushrooms, growing in diverse forms on any surface, mirror the child’s curiosity to take initiative and embrace challenges.
Words of encouragement and positivity can lead to a sense of competence, while criticism and failure may cause feelings of inadequacy. Representing the Industry vs Inferiority stage, flowers that are exposed to sunlight and water grow beautifully, while those neglected may stop growing and wither. A supportive environment can foster growth and confidence, while a lack of support may limit their potential to explore and take risks.
“What job do you want to do in the future?”a question that can be both exciting and overwhelming for teenagers. This pen illustration represents the Identity vs. Confusion stage through the visual of a garden-like bedroom in a film strip layout. The piece explores different careers with excitement in the cluttered bedroom of figuring out the meaning of identity. The last frame especially emphasizes on the unfinished costume on the mannequin to represent exploring different jobs and quit halfway.
“I enjoyed being alone, but I don’t like the feeling of loneliness”. This linocut print represents the Intimacy vs. Isolation stage where the gardener is surrounded by wilted and decaying plants, creating the feeling of detachment, yet experiencing emotional isolation. The piece reflects on a personal journey on how loneliness can affect relationships and comfort. Can we actually emotionally disconnect from people by isolating ourselves? or is it a neutral feeling of loneliness?
From Roots to Creation
Journey of My Life CeramicTilecarvedinHighRelief,RangeofCone6Pottery Glazes 20cmx20cmx3cm
is a famous Thai phrase saying that ‘Where there is a will, there is a way.’ This piece doesn’t represent any specific stage but it is my personal motto whenever I feel like giving up or losing passion. Just like the wave, the bigger the wave, the harder it is to remain stable and strong. This idea then evolves to how ‘you will face challenges no matter what path you choose, but challenges can be a good thing as it teaches you to learn about life’.
“How can I contribute to society?” Adulthood often comes with responsibility, whether it’s family or work. My sculpture is intended to represent Generativity vs. Stagnation stages via 3D visuals of an intertwined tree and freefrom leaves, leading to different responsibilities an adult needs to contribute. While the tree trunk remains firmly rooted as if it’s stable and resilient when challenges are present as well as bright green leaves highlighting contributions that shape individual growth.
“Am I satisfied with my achievements?” This digital piece represents the Ego Identity vs. Despair stages through visual elements of an old and sturdy tree, similar to how elders reflect back to their life and think about all the significant memories but some face feelings of hopelessness and regret as their life is coming to an end. Green means to look back at past achievements with satisfaction while pink means frustration, but through work and dedication, it is still not too late to feel satisfied.
Joga Bonito Kantapat (Jerry) Puttakotirat
‘Wake Up’
Pastel pencil on cartridge paper 49cm x 64cm, two pieces (Diptych)
Wake Up is a pair of pastel pencil drawings reflecting my internal conflict. Inspired by Dryden Goodwin’s messy strokes of single color on flat background works, the left piece evokes suf-focation, depicting a nightmarish silhouette of my numbed face lost under the overwhelming hands clawing at my flesh, dragging me down. In contrast, the right piece shows a single red hand on white reaching up into emptiness for hope. Together, they capture the duality of despair and the desire for awakening.
‘Strangled by the Clouds of My Thoughts’
Digital painting made with Procreate software printed on high gloss paper: round brush, flat brush, spectra brush, Helsinki ink, medium airbrush 58cm x 79cm
This artwork features a figure with his head stuck in a cloud; a flash of oncom-ing lightning wraps and tugs on his limbs, a visual metaphor for being trapped in a ‘cloud of thought’. The overwhelming thoughts and pressures of life are emphasized by the oversaturated palette of jarring and clashing colors. The figure is rendered in a chromium texture from which hints of color from the cloud reflect off, representing how our outward expressions and appearance are a result of what goes in our minds.
‘Eclipsed Echoes’
Pastel pencil, 2B, 4B, 6B Graphite pencil on a panel of medium-density fibre-board, collaged fragments of aluminum sheeting 72cm x 33cm
Inspired by Kim Jung Gi’s continuous illustrations, Eclipsed Echoes visualizes the chaos of the subconscious—memories, fears, and thoughts erupting from a fragmented mind in surreal symbolic forms. The panicky feeling of waking up at 3 am with hundreds of random problems flooding your mind. Using finelined hatching methods on fibreboard, combined with collaged fragments of alumi-num sheets and white pastel pencil, the piece evokes a nightmare-like tension between control and collapse.
‘Blisters and Bedrock’
Natural air-dry clay, light bulb, airbrush, and water-based inks 20cm x 20cm x 20 cm
The name pays homage to an episode of Arcane that explores the tension between suffering and resilience. Carved from airdry clay, each side shows figures hugging themselves in isolation. A glowing cross crowns the cube, lighting up the darkness that seeps below. Lit from within, the piece represents a firm foundation, an unshakable faith —a bedrock that forms only through blisters, pain, and struggle. Even when surrounded by darkness, something steady still glows within— quiet yet unwavering.
‘Dissimulation’s Mask’
‘Conversation with Discomfort’
Acrylic paint on acrylic gel medium canvas
60cm x 90cm
This piece explores the emotional terrain of football through the 7-a-side 2-3-1 formation we play at school, each position painted in a different color to reflect a feeling from Inside Out. The textured pitch, created with an acrylic gel medium, mirrors the physical and mental bumps faced in the game. Just like in our daily lives, football is a negotiation with pain. When discomfort arrives, we are forced to confront it, asking ourselves, “Do we give up and accept defeat or push through?”
45cm x 65cm (displayed at 8cm depth protrusion from supporting wall)
Inspired by Monet’s en plein air, the lamb, which viewers can see themselves in, rests peacefully under a cherry blossom tree; around it are soft textures of foliage, balancing cool blues and greens with warm pinks and yellows to create a peaceful, ethereal glow. The piece evokes a dreamy comfort in knowing that although we stray away at times, Jesus leaves the 99 for the one. He meets us where we are and brings us home, surrounding us with the same grace, warmth, and light that surrounds the lamb.
‘Against the Current’ Acrylic paint on canvas
60cm x 90cm
The piece began with random splatters to express life’s pressures, which turned into waves reminiscent of the Red Sea parting. The work shows a manta ray with a cross pattern on its back, shining a trail of light that splits the sea. Schools of fish surround it, turning gold but dying, symbolic of my Christian faith that following the current (both literal tides and seeking earthly wealth and desires) won’t set me free; only through the light of Jesus can I break from the cycle of struggles.
Digital painting made with Procreate software printed on matte canvas: round brush, flat brush, dry ink, rake brush, grain charcoal, fate brush 58cm x 79cm
This piece explores a concept from a UFC interview: “Are you a good guy trying to be bad, or a bad guy trying to be good?” The work showcases my head split off with a black streak along the eyes evoking tears. A beast emerg-es in between, stretching and trying to escape from my skin, representing a suppressed, layered concept of selfperception behind the mask. Flowers and butterflies symbolize purity, contrasting the aggression and highlighting the tension between identity and intention.
+3 captures the nostalgic drive behind every victory—each goal, each win, is a step closer to my childhood dream. My number 7 frames me at age 7, imagining myself lifting the UCL trophy. The paint-ing is in red, white, and blue—the colors of the Thai flag and the colors I dreamed of wearing to a World Cup. Though the dream grows further away, I can still draw it into reality. Every brushstroke honors that inner child
‘+3’
Acrylic paint on canvas 60cm x 90cm
Drift ~ Between Past and Fantasy Chawonvid (Ta) Suntivong
The Vanishing Banquet Photograph 50cmx60cm
The Vanishing Banquet captures the fleeting nature of dreams—abundant, chaotic, and filled with meaning that slips away upon waking. The half-eaten meals, scattered plates, and remnants of a forgotten gathering evoke a dreamlike atmosphere where time is distorted and reality feels just out of reach. Like a dream that dissolves with the morning light, this feast seems both present and absent, rich with untold stories. It symbolizes desire, longing, and the ephemeral pursuit of fulfillment—echoing the way dreams offer
glimpses of something greater, only to fade before they can be fully grasped.
A Long Day
This piece captures the fragile, fleeting nature of memory. The painting shows a girl with a film camera standing in a flower field — a figure from a dream, familiar yet just out of reach. As we wake, her face begins to fade, and the harder we try to remember her, the more she slips away. Still, the emotions tied to those dreamlike moments remain vivid and deeply felt. Sometimes, all we can do is sit in quiet reflection. Like the artwork itself, if you don’t look closely enough, you might miss her — hidden behind a ghostly silhouette, holding the camera and waiting to be remembered.
Photographseries 40cmx50cmeach
This piece captures the quiet surrender to exhaustion. The untouched wine glass, meant to be enjoyed, instead lingers—moving from table to sink, tracing the drinker’s fading energy. Its journey mirrors the slow drift from wakefulness to sleep, where intentions dissolve, and rest takes over. A reflection of life’s quiet pauses, it reminds us that sometimes, the day ends before we’re ready for it to.
This photography piece carries a deeply personal meaning drawn from my own experience. It was created in memory of my grandmother, whom I lost not long ago. Even though her physical presence is gone, her memories continue to live on within me. In this piece, I used a timelapse technique, layering multiple shots to show people gradually fading over time. It represents how people come and go from our lives — their bodies may disappear, but the impact they leave behind remains, quietly echoing through our memories.
Fading Glimpse of Her Oilpaintoncanvas 80cmx70cm
People comes and go
Photography 40cmx50cmeach
Luminous Drift
Photography 61cmx91cm
The shimmering reflections on the water resemble fleeting memories— moments from the past dissolving into the currents of time. Like dreams, they flicker between reality and illusion, never still, never fully grasped. The light dances, creating a bridge between what was and what could be, blurring the boundaries between past and fantasy. Just as dreams pull us into forgotten places and imagined worlds, this glowing drift of light carries whispers of memories, drifting endlessly between the real and the unreal, the seen and the felt.
Dream of Comfort
Oilpaint,spraypaint,pigmentinkoncanvas
100cmx120cm
This painting shows the warmth of a simple, happy moment. A child is gently hugging Winnie the Pooh, both peacefully asleep. It feels like a dream where the child finds comfort and happiness with their favorite bear. The soft colors and calm expressions remind us of how dreams can bring us feelings of safety and love, even in the simplest moments.
Back to Awaraness Oilpaintoncanvas 50cmx60cm
This piece looks at how our imagination and real life connect. It shows the quick moment when we’re deep in a dream, then suddenly wake up because of a sudden fall. This is like how life can change suddenly, bringing us back to reality even when we’re enjoying ourselves. The artwork makes us think about how happiness doesn’t last forever and how we have to deal with life’s challenges, even if they mess up our dreams.
Fading Glimpse of Her Oilpaintoncanvas
80cmx70cm
This piece captures the fragile, fleeting nature of memory. The painting shows a girl with a film camera standing in a flower field — a figure from a dream, familiar yet just out of reach. As we wake, her face begins to fade, and the harder we try to remember her, the more she slips away. Still, the emotions tied to those dreamlike moments remain vivid and deeply felt. Sometimes, all we can do is sit in quiet reflection. Like the artwork itself, if you don’t look closely enough, you might miss her — hidden behind a ghostly silhouette, holding the camera and waiting to be remembered.
Glued back together
Oilpaintoncanvas 60cmx76cm
Floating in the stillness of warm water, the tiny rubber ducks resemble fragments of a dream—innocent, weightless, and detached from time.
The reflective surface distorts reality, creating a blurred boundary between the physical and the imagined. The chrome faucets, cold and rigid, contrast with the fluidity of the water, much like the tension between waking life and the surreal landscapes of dreams. In this quiet moment, the ordinary becomes otherworldly, the playful ducks drift aimlessly— symbols of
and nostalgia, fleeting thoughts, and the delicate balance between consciousness and the dream world.
Seven years ago, almost to date, I went on my first ever scuba diving trip.
It was 2018, a time before COVID-19 existed, a time when all life was freedom. I just finished my scuba diving course in the pool and I was so excited about going to dive in the ocean for the first time.
I arrived at the pier and boarded what I would call my home for 5 days on a liveaboard called “The Venus Marina”. It was not the most fancy boat you could imagine, but it was a cozy room with two small beds separated by a small walkway.
The next morning, the sun rose along with splashes of water hitting the ship, the sky was bright and clear, so was the water. My phone stopped ringing with all signals being left at the pier The sensation of leaving the world behind was so rewarding, I wish reality is not always structured through technology.
The refreshing sensation hits me as cool water freezes my face. I deflated down into the deep blue ocean. My ears suddenly squeezed into itself, it hurt like nothing else. It felt like a million vacuum cleaners trying to suck my ears into my brain. Fear shadows me, I was afraid of the power the ocean has over me; even with its glorious beauty.
Natrin (Pai) Chiravanich
Deen
The sun started to set while the stars and the moon got brighter in the sky. My flashlight along with other divers are the only light source underwater, without my flashlight, everything is pitch black; we slowly make our way into different depths of the ocean.
The sun started to set while the stars and the moon got brighter in the sky. My flashlight along with other divers are the only light source underwater, without my flashlight, everything is pitch black; we slowly make our way into different depths of the ocean.
A friend of mine agreed to be my buddy before the dive, then, I saw him suddenly propel himself upwards. (This poses a major life-threatening risk because it may cause illness like the decompression sickness, which is fatal). I grabbed onto his legs and tried my hardest to keep him from floating away from me. He kicked my belly with his fins and floated away in darkness. All of a sudden…
A friend of mine agreed to be my buddy before the dive, then, I saw him suddenly propel himself upwards. (This poses a major life-threatening risk because it may cause illness like the decompression sickness, which is fatal). I grabbed onto his legs and tried my hardest to keep him from floating away from me. He kicked my belly with his fins and floated away in darkness. All of a sudden…
I was left alone in the dark ocean, I could only see the light from my torch. I was lost and alone in the deep, pitch black ocean. My body starts to shiver, but I remain calm, slowly looking around to see just one other light source…
I was left alone in the dark ocean, I could only see the light from my torch. I was lost and alone in the deep, pitch black ocean. My body starts to shiver, but I remain calm, slowly looking around to see just one other light source…
After minutes of being alone underwater, I saw a beam of light far away from where I was. I swam towards the light and found another group of divers, I was as relieved as ever.
After minutes of being alone underwater, I saw a beam of light far away from where I was. I swam towards the light and found another group of divers, I was as relieved as ever.
The ocean calms me, even in the most stressful and life threatening situations, I learned to be in the present, and not worry about the next seconds in life.
The ocean calms me, even in the most stressful and life threatening situations, I learned to be in the present, and not worry about the next seconds in life.
I Am
I Am
Imaiboon (Imboon) Chawalitruangrith
Imaiboon (Imboon) Chawalitruangrith
The office doors slid open smoothly, revealing a brightly lit, surprisingly cozy office space that smelled of sweet coffee and vanilla. However, the warmth of the space was slightly offset by the metal operating table on the left surrounded by humming monitors, neatly arranged wires, and surgical instruments delicately laid out on a velvet cloth. “Professor Brooks?”
The office doors slid open smoothly, revealing a brightly lit, surprisingly cozy office space that smelled of sweet coffee and vanilla. However, the warmth of the space was slightly offset by the metal operating table on the left surrounded by humming monitors, neatly arranged wires, and surgical instruments delicately laid out on a velvet cloth. “Professor Brooks?”
He looked up, shocked, then quickly regained his composure, and stood up hastily. “Sailor and Chiffon! Call me Kayden. I’m very pleased to meet you. Come, sit down.” Sailor accepted his proffered hand and shook it firmly before sitting down on the armchair that faced the scientist. Scanning his body, Sailor noticed the name tag reading Prof. Kayden Brooks, the clean, ironed sleeves of his lab coat, his immaculately polished shoes, and the dark, heavy bags under his eyes. Clearly, someone of his standing did not have time for pastimes such as sleeping.
He looked up, shocked, then quickly regained his composure, and stood up hastily. “Sailor and Chiffon! Call me Kayden. I’m very pleased to meet you. Come, sit down.” Sailor accepted his proffered hand and shook it firmly before sitting down on the armchair that faced the scientist. Scanning his body, Sailor noticed the name tag reading Prof. Kayden Brooks, the clean, ironed sleeves of his lab coat, his immaculately polished shoes, and the dark, heavy bags under his eyes. Clearly, someone of his standing did not have time for pastimes such as sleeping.
Unsure where to begin, Sailor leaned forward and started, “You know what I am-” at the same time that Kayden said “You are not human.”
Unsure where to begin, Sailor leaned forward and started, “You know what I am-” at the same time that Kayden said “You are not human.”
A Pizza Shared
Patchat (Otto) Kantakom
I always wondered if New York pizza was as good as it claimed to be. That was the goal of my summer trip of my high school junior year: to try the best pizza New York has to offer. Of course, I disguised it as going to a summer program at Columbia University, but in reality, the pizza was really what I was after.
I was in New York for three weeks, staying with a friend of a friend who knows New York like the back of their hand: a Concordian graduate studying in NYU. I’ve known him since I was small. He and my brother always came together, a package deal of sorts, like two peas in a pod. I’ve travelled with him several times, but I’ve never had real one-on-one conversations with him. It was difficult to talk to him at times. The only way I felt comfortable to do so was through my brother. But in New York, it was only me and him.
How do I not act awkward?
The first few meals I shared with him were quiet. Both of us “doom scrolling” through our phones. No words shared, no glances exchanged. Only the mutual tacit understanding of the hunger screaming from both our stomachs.
That was it– the solution!
Food was my entry to conversation. And so I started.
“Is the food here actually any good?”
This sparked a whole conversation about the food here in the United States: the gigantic portion sizes, the unhealthy amount of fast food, the outlandish prices of the food. At one point, it was as if he was reciting a Shakespearean monologue.
Each day after that, he took me to a new restaurant, a hidden gem that he always had in the back pocket of his jeans. We went to Chinatown– a taste of home, cheap, flavorful. We went to Little Italy– the flair, cheesy, creamy. But most importantly, we went to Prince Street. Nothing compared to the pizza that I had at Prince Street. Not because the taste was so good. But because of the trek we journeyed to get there. First, the subway was closed, so we had to take the bus. Next, it started pouring, so we had to get soaked. Fully soaked. It was like the universe was trying to deny us any possibility of tasting this pizza. But we were determined, nothing could stop us, at least me, from trying the “best” pizza. And so we stood in the rain, eating. The two slices of pizza we worked so hard for.
Was the pizza any good? Did it live up to my expectations? No. But maybe that was because it was drenched in rain, soggy as a sponge. Did I have fun though? Yes. Perhaps the most fun I had in this entire trip.
It didn’t matter that the food was not mind blowing, all that mattered was that I had the food to share with someone, a memory worth reliving with him, a new person who I considered a friend.
Food is never good by itself. Community and friends is what makes it good.
Homdaeng
La La Land - a Movie for the people who Dream
“People will want to go to it because you’re passionate about it and people love what other people are passionate about.”
It’s no secret that most parents want their kids to have stable careers. Sometimes, that means giving up the dreams we’ve always wanted to chase. The film La La Land, directed by Damien Chazelle and released in 2017, follows two people who choose their dreams, no matter the cost. Sebastian is a pianist passionate about reviving jazz, while Mia is an actress driven by the love of her craft rather than fame. When their paths cross on a sunny Los Angeles day, the film explores love, loss, and passion in a way that feels timeless and deeply personal.
When people think of La La Land, many remember the infamous Oscars mix-up, when it was mistakenly announced as Best Picture over Moonlight. But for me, the film is so much more. It’s a story I hold close to my heart. The first time I watched it, I was eight. The vibrant colors and enchanting score captivated me, but it was the ending — that montage of what Mia and Sebastian’s lives could have been — that stayed with me. At the time, I was too young to grasp why they had to leave each other or what it meant to sacrifice for a dream. It wasn’t until I was sixteen, on a cold evening in Vienna with a fever, that I revisited the film and finally understood. That night, watching La La Land again, I became aware of all the dreams I’d quietly held.
I’ve always loved movies, even when everyone around me seemed drawn to short videos on YouTube or TikTok. Films offered me an escape and a space to explore who I was. There’s nothing like the feeling of finishing a fi film that perfectly captures your thoughts and emotions. La La Land made me realize how much I love the art of cinema. Like Mia’s passion for acting or Sebastian’s mission to revive jazz, I discovered my own dream: to make films. In a world where cinema feels increasingly overshadowed, where fewer people go to theaters, especially after the pandemic, this film helped me recognize my desire to pursue a creative path. Even though it’s not the most stable career, it’s mine. And like the characters in La La Land, I choose to follow it.
Napeach
Pepe
Why you should read Hamlet
William Shakespeare is widely known as the greatest writer in the history of the English language. Many scholars celebrate Hamlet, one of his tragedies, because it marks the emergence of a new kind of literature, a kind of literature that focuses on the internal conflicts of an individual rather than the external conflicts between many. Hamlet encourages us to prioritize personal values for the way peo-ple interact with the world. Hamlet’s internal struggle with action versus inaction and the meaning of life urges the readers to change their perspectives on free will and fate.
AViewofSnowWhite
Gwynna (Gorya) Diskul
Currently,Disneyhasshiftedtheirmain formofmediafromoriginalfilmstoliveaction, however,thelatestreleaseofSnowWhitehas been a flop in the box office. Although there have been mainly positive reviews for live actions in the past, people do not want a repeatofastorywiththeexactsameplot.On the other hand, they also do not want a completely different story with a different message.
Disneyhasshowntodisplaytheirmovies as “woke”, a slang typically referring to awareness of social and political issues. They conveySnowwhiteasthe“fairest”,insteadof referring to her pale skin, they drift from the originalmovieandrefertoherasfairminded. Theactorplayingher“RachelZegler” hasalso beendisplayedtobe“woke”,fullyexpressing herdisdainfortheoriginalmovieonhowSnow Whitedidn’tneedamantowakeherup–Even insultingthePrinceasa“Stalker”inoneofher interviews.
Disney’s new live action views Snow White as a headstrongandcompetentleader,givingheraneworiginal soundtrack “Waiting on a wish”.Although the message and melodyofthesonghadreceivedpositivefeedback,Itisstill undeniablynotthesamemessageastheoriginalSnowwhite. Thelyrics“Sowillsheriseorbowherhead/Willsheleador just be led? /Is she the girl she always said she’d be?” contrasts Snow White’s original image as a sweet, soft and femininegirlbyusingimperativelanguageandimagery.
Despitethetitle“Liveaction”inSnowwhite,80%ofthe filmwasmadewithCGI.Thepointofaliveactionistorecreate or develop the plot of an animated film in real life with real actors. However, Snow White’s take is to CGI dwarves instead, even going to the point of taking the name ‘7 dwarves’ out of the film “Snow White and the Seven Dwarves”. Therefore, Disney should not try to attempt live actionmoviesasitlackscreativity,originalityandsimilarityto the actual stories that past Disney teams thoughtfully put effortinto.
Khao Mai
Travel log #1
Manasanan (Cake) Vatanasakpisal
At twilight, the glowing golden sparks light up the city. The bustling streets are teeming with activity, as people rush by, the vibrant chaos of the city pulses in all directions.
I arrived in Shanghai under the glittering lights of the night, as the city’s skyline gleamed against the darkening sky. It was my second time in China, but Shanghai was not just any city. It was the city I hoped would reveal a piece of myself I had never actually discovered. I had come not only to explore its culture but to witness the fusion of the past and future in a city that is constantly developing.
Strolling through the Bund felt like stepping into a time machine. The old European buildings along the Huangpu River stood as quiet reminders of a bygone era, reflecting Shanghai’s colonial history. The contrasting sense of familiarity and foreignness evoked the voices of my inner turmoil. It was a place that held history in its walls, yet was constantly moving forward, growing, evolving.
In the evening, the city transformed . It was fully painted with golden neon lights, and the air was brought alive by the sounds of life: people’s laughter and chattering, cars honking, and even the faint sound of the waves. As I stood in front of the Oriental Pearl Tower, staring up at the endless sky, I felt an unfamiliar sense of peace. Within the busy city stood this unique tower, standing gracefully on its own. It was not quite isolated, but rather independent, surrounded by all that was happening, yet was unaffected by it. It was oddly comforting to realize that the world could move at its fastest pace, and yet, there could still be moments of peace to be found in the most unexpected places. The Oriental Pearl Tower was not just a building of glass and steel; it was a reminder that sometimes, it is in serenity that we find our greatest sense of comfort and belonging.
Arriving on the streets of the Yu Garden, the traditional wooden architecture once again stirred the nostalgia that had lain asleep deeply within me. It was as if the memories of an earlier time, ones I had not even known I had, began to physically rush through my body. With each step along the street, whispers of generations telling me stories started to echo. It was a strange yet familiar feeling, like rediscovering a part of myself I did not know I had lost.
16th June 1096
Tuesday 10:20 pm
Dear diary,
Today is a very unusual day. I have noticed that the Surfs have begun leaving their farms, despite their lord forbidding them to. He did this mostly because he himself is planning to ganter a large force to join the crusade while the Surfs gather resources for him. Along with this, a man that goes by the name ‘Peter the hermit’, along with the members of the town’s church, have started urging the peasants to join them in the crusade to take back the holy land.
This is quite a problem in the lord’s lands, but the outside world isn’t the only problem. Inside of me the knights are preparing to join the people despite their lord’s words to go during the main crusade. The lord who knows of his knight’s plan has forbidden them from leaving, and has said that those who do leave will no longer be considered knights.
It currently seems to have worked because many of the knights have started to rethink their desire to join this early crusade, because ever since they were seven they have worked to become a knight and grow their lords power.
Meanwhile, the older squires are readying their horses for the next tournament, which inconveniently for many of them, is their last one and the one that they have been waiting for their entire squirehood. Many now are wondering if the tournament will be canceled for them, and if they will have to wait many more months or even years!
Along with this some of the younger squires have chosen to completely ignore the situation, and instead “train” or as I like to call it, play fight with wooden swords.
Regards, Manor
Archie Young
Dear diary,
I know I have already written to you today, but so much has happened that I feel the need the write again.
Many of the peasants and even knights have started to leave with the hermit. The lord of the land is extremely angry about this, and is thinking about selling me to gain his workforce back.
Along with this, many metal workers have stayed behind because of their patronization to the church, and have decided to avoid the crusade entirely.
Now that I have, yet again, talked about what’s happened in the town I will talk about what’s happening inside of me. Due to the lord’s need for peasants, knights, and priests he has decided to sell me for a smaller house. I am severely wor-ried about this because I am afraid that he may sell me. This may be the end!
Farewell, from the Manor
Pets and pets and pets...
Merry,
a scottish fold
CATS ARE BETTER THAN DOGS BC THEY POOP PROPERLY, THEY PLAY WITH YOU AND LISTEN TO YOU.
Moomin, a chinchilla and Pleng’s “Dusty Mistake”
Meet Moomin — my absurdly adorable chinchilla who does absolutely nothing except eat, sleep, and occasionally blink at me with the most unimpressed expression you can imagine as well as getting excited if you shake her snacks box. She’s the definition of a lazy queen, living her best soft life surrounded by snacks and silence.
One day, in a moment of what I thought was pure brilliance, I had an idea. A genius idea. Instead of using the regular dust bath container that lets her kick the damn nose itchy volcanic dust everywhere like she’s reenacting a sandstorm, why not use a pot? Yes, an actual kitchen pot. It had tall sides. It was sturdy. It has a lid that would totally trap the dust inside. No mess, no stress, and surely Moomin wouldn’t care — she’d just roll around like usual.
So I did it. I placed her gently inside the pot with the dust, and she got right to it. Spinning and flopping like a fuzzy white potato in a flour storm. I stood there feeling like an innovator. A revolutionary in chinchilla hygiene.
Until I got caught.
Apparently, mixing animal stuff with food utensils is a major no-no. Who cares? If I just clean the dust off, I can still eat the food that was cooked with that same pot (Everyone except me, clearly.) I got the scolding of a lifetime — and even a couple of dramatic slaps on the arm — for “contaminating” kitchen tools with chinchilla butt dust. I tried to defend myself. “But it contains the mess!” I cried. “It’s smart!”
No one was impressed. Least of all Moomin, who just sat there blinking in her dust cloud like she couldn’t care less.
Moral of the story? Don’t put your chinchilla in a cooking pot. Even if it feels like a stroke of genius. Especially when said chinchilla isn’t even awake long enough to appreciate it.
Olli, a beagle
When you’re bored with your dog’s name, just change it because they will respond to anything you say regardless of their name. My beagles’ names are Diesel, Sukjai, Oliver, Oli, Bing Bong, Strawberry, Goosbi Dog, Goosbekistan, and more.
Sorawit (Troy) Laoharavee
Nitiyanin (Pleng) Puranitee
Warinpan (Jasmine) Pantrattanamongkol
เรารักพระบดินทร
ด้วยเกล้าด้วยกระหม่อม ขอเดชะ ข้าพระพุทธเจ้า
ด้วยเกล้าด้วยกระหม่อม ขอเดชะ ข้าพระพุทธเจ้า
Reena
Just One Line
Middle School
If you stare into reality for too long, you will go blind and wish for your breath to stop.
-Oryuu G7
Round and round, up and down, life throws us all around.
-Kao G7
A heart is like bedrock, it can only be broken by cheating.
-Kevin G7
High School
I chased the spiral until I realized it wasn’t a trap, it was my shadow.. -Yong G11
Life is like a spiral, if you don’t change, don’t expect the results to change either
-Angie G10
Follow the yellow brick road. - Sophia G11
Every twist and turn in life brings us closer to the core of who we are.
- Ms. Melina
Rabbit hole-vacuum-side blinded, the rug was pulled out from under me, sucker punched, the blood draining through my veins and into oblivion, had I earned this?
- Ms. B.
Learning moves us forward, always growing and evolving
- Ms. Jesusa
Her knees collapsed, her head was light until it left her, she let herself fall and it felt like another country.
- Ms. B.
Blooming roses violently destroyed, devoid of greatness, unsalvageable against the majority.
-- Maggie G10
Even the slightest act of negativity, can turn into a big spiral in someone’s heart.
- - Camil G7
An endless spiral of life, each step with different stories some with sunshine and rainbows, some devoid of life.
-Drake G7
She felt it in her gut; her intuition was screaming.
-Ms. Viorica B
Everything was meant to happen, there is no good or bad luck.
-Bruce G6
Life is like a spiral staircase, it’s hard to go up and hard to come down.
-- Ing Ing G9
A spiral represents the universe, endless and ever-changing.
-Harmonie G9
The seemingly endless path could be light or dark, the thrill is the mystery of what’s to come.
-Pepe G11
Farewell
Fare Thee Well
Aaron Curmi
8 years.
That’s no small amount of time.
For most of my students, this is more than half of your current lifespan. And time is a funny thing -it can fly or crawl, drip or deluge depending on our circumstances. While I’ve grown and learned so much in my time here at Concordian, looking back on it feels like a blink. I’ve had many ups and downs (certainly more ups, though!), seen good friends come and go, forged connections which will last a lifetime, and built a beautiful menagerie of memories of times well-spent with my students. Whether you realize it or not, I have learned so much from you. And it’s important to remember that teachers come in all forms and sometimes show up in the most unexpected of ways - a lesson I am always still learning. But as I move on to new places and adventures, there is one thing I am making a conscious effort to do more in my life: never leave anything unsaid. So, with that, I want you all to know just how much you mean to me.
To you, I may have just been another teacher in your life. And that is ok. For me, I want you to know that I remember each and every one of you that has crossed the threshold and graced my classroom with your presence. I remember and appreciate all the little things about you: the quirks, the interests, the likes and dislikes, the hilarious moments, the difficult conversations - all of it. To us teachers, you are everything. You are what inspires us and keeps us going. On my worst days when I felt like just giving up, I cannot tell you how many times, without even knowing what they were doing, a student has shed light on an otherwise dark moment and lifted me back up. And for that I am forever grateful. This means more to me than any high grade or trophy ever could. It is my hope that you will never lose this capacity for unfiltered goodness and continue to nurture your inner child. After all, they are what keep life fun and interesting.
I wish you all nothing but the best and I hope you will use the tremendous power within you to be a force for good in a world that so sorely needs it.
I don’t believe in the word “goodbye,” so I will see you all again someday, somewhere down the line.
“May you build a ladder to the stars And climb on every rung
Drifting to inevitable end, Devoured in shadow and foam. Nameless, formless, Alone in an eternal home.
When the river slows, Only robins whispe r. My longing grows— Where is my sister?
Blocked from beholding The grandeur of the othe r, Bound by banks of beliefs— One stranger to anothe r. What power is lost When we go alone?
What greatness could come If two become one?
Climb the mountain. Climb! Bridge the gap. Burst the dam.
Honor our eternal source. Change your course— Embrace one another As brothers.
Shout from the peaks!Truth the valley speaks. Let your voice tear asunder What veils us from wonde
Let flow between you: Like rivers once parted, Merged—strong and whole —Restoring a broken soul.
Let your heart unfold, The love that you hold.
May You Be Well
Viorica Barbu
The innocence, The stress, The pressures, And all the rest: They‛re all part of growing and learning For both teacher and student.
Take care of yourselves, Drop Everything And Rest, Look up at the sky –All moments pass by.
So cherish each day, Make compassion the way, Connect with your hearts In both Science and Arts.
And as you move forward, Know that your just reward Is your true self-acceptance And pure magnificence, Touching all lives you meet.
So live and love wholeheartedly And share joy openly, And listen With a beginner‛s mind: The sound of silence, A wise word, Your intuition, A warning.
Learn to trust yourself And yet never forget That a teacher is found In all those you‛ve met.
Thank you for being my
A Farewell in Four Movements
Melina Curmi
I.Overture
Six years ago, I stepped into this school like the first note of a new symphony—hopeful, uncertain, heart full of rhythm.
I stood just behind the curtain, a quiet support in the wings of students’ daily scenes.
I listened more than I spoke, observed more than I led, and found joy in the subtle art of helping others shine. Like a steady beat beneath the melody, I was there, holding the rhythm while students found their voices.
II.Allegro
We played music through the seasons, found harmonies in the chaos of adolescence, clapped out rhythms between winter and spring concerts, and turned ordinary days into unexpected melodies.
The music pulled me forward, from quiet harmonies to solo lines. From assisting in the wings to conducting my own classroom symphony.
I watched voices find their strength, watched shy hands rise to take solos, watched eyes light up when music finally made sense. A guide through tempos of learning, a companion and steady hand through dissonance and triumph. These are the crescendos I will carry with me.
III.Adagio
As the final cadence draws near, I find myself listening to the silence between the notes as the stillness of goodbye. I stand once more in reflection, grateful for every stage of the journey.
From quiet support to full-voiced song, this school has been the place where I learned just as much as I taught. The halls hold echoes of every student who let me in, every colleague who lifted me, every lesson that sang true. Full of memory, of laughter, of the quiet way music lingers even after the last note fades.
IV.Coda
Though I take my bow, this isn’t the end of the music.
It simply plays on in new ways, new places. To my students, colleagues, and friends: thank you for the harmony, the honesty, and the heart. Thank you for letting me be part of your soundtrack.
This school has been more than a workplace, it’s been a symphony of hearts.
And though I turn the page to a new movement, our song will always echo in me.
Here’s to every note we played and every voice that found its place.
