Thailand's artist Alongkot In-Art (b.1976) has an interesting visual addressal of his immediate surroundings. A lot of his work engages with materiality and techniques to portray a world of intimacy and fantasy. Wires, acrylic paint, metallic sheets in aluminium, nuts-and-bolts, or tin cans are all possible materials that can be seen in his work. His dreamlike quality emerges out of the effects that these materials are able to create on canvas or any flat-surface platforms. His sculptures also toy with dimensional visuals that are sensitive in affectations.

    This Thai artist also works on NFTs. These works are an interesting insight into the dream state or even a popular narrative on spaceshifts. A lot of these work are possible means to look at his psychosocial interventions on his own imaginations, where his imagination is an interrogation of what he sees on popular platforms, such as television or films. His surrounding, therefore, indulges this fantasy of belonging to another universe: a universe in which he finds adventure and creative abilities beyond the mere human or basic. With this motto, Alongkot works through an intensive technique based art form. Collage making, wire moulding or stringing, and similar fast-paced skill oriented popular practices become central to his art-making. Here, the implied meaning of 'fast' is equivalent to that which is quickly absorbed as a visual language because of the repetitive nature or promotional information available for general public or anyone who is inclined to this fantasy of space and time. While the artist entertains the popular fantasy of unearthly living, adventure, and delights, the artist is also finding ways to work with the idea of sustainability.

    The use of discarded goods or lost-and-found objects tend to be a theme in Alongkot's work, where he finds ways to locate meanings to objects that may have lost its sense of essentialism. He revives these objects as a way to build a strong foundation for his artistic contributions to nature and environmentalism.

    Alongkot's NFTs are an interesting visual composition of feminine facial expressions. They are seductive, playful, shy, and demure all at once. They possess a strong presence on the screen demanding its audiences approval or even indulgence in their spirited visibility. Some images carry messages of confidence and thrust a peppy vibe on its audiences.

    All in all, Alongkot's work is a vibrant sight. They focus on building happy narratives and pleasant sensations. While they perform a more nuanced engagement with popular practices and culture, these artworks are also associated with important socio-political missives for its viewers, where each work is a testament to his own language of 'peace and love'.