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Natpavee Wanichnatee

Natpavee Wanichnatee works across digital and physical formats, combining design, technology, and personal memory in ways that feel clear yet open-ended. Her projects often begin with small observations from daily life, which she gradually develops into layered narratives using 3D modelling, immersive media, or interactive formats. Whether she’s experimenting with mathematical forms in Blender or building VR environments, she treats each medium as a way to reframe how we perceive the everyday. Structure and play go hand in hand in her process, shaped by both graphic design discipline and a curiosity for how ideas can shift across space and format.


S-Klein - 3D printed scultpure
S-Klein - 3D printed scultpure

Q: You move between 2D, 3D, and immersive formats. What usually makes you choose one direction over another?


A: I really appreciate this question—it’s not something I normally talk about, but it is always there in the background. The truth is, my choice of medium is usually a mix of "what I’m curious about right now" and "what’s actually doable." Sometimes I will plan for one format, then the process takes me somewhere totally different. I enjoy those detours as they push me to see things in new ways. And honestly, things like time, cost, and presentation are just as important in shaping my choices as the initial idea. If it were in an ideal world, I would definitely let my curiosity lead the way and enjoy the creative process.


Q: Memory and everyday life often feed into your practice. How do you recognize when a moment is worth turning into art?


A: For me, it usually comes from retrospect—it’s an emotional outlet more than anything. I know it sounds a bit corny, but it’s almost like saying "I love you" for the first time, or sharing good news with someone close. 

You reach a point where you just cannot hold it in anymore—you have to express it. The difference with my work is that I need the right timing and the right tools to turn that feeling into a project.

I remember my first creative outlet around memory and everyday life was about time. I found it exciting but also challenging to visualise time without being too literal. One of my tutors back then gave me advice that really stuck with me: when you’re working with abstract topics, set yourself a constraint. That idea of working within limits helped me find direction then, and it still guides how I approach my practice today.


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S-Klein - 3D printed scultpure
S-Klein - 3D printed scultpure

Q: In "S-Klein" you dealt with the paradox of a form without inside or outside. What made you want to give that abstract idea a physical shape?


A: "S-Klein" started very simply. I was experimenting in Blender with some of its built-in mathematical shapes and discovered functions related to concepts of dimension, like the Möbius strip and the Klein form. At first, I planned to use one as part of a poster design.

As I worked with it, I got curious—if I could model this form seamlessly on screen, could I also 3D print it? That question shifted the project completely. With advice from a fellow creative, I gave it a try, and I still remember the moment the print came out. Especially, what other existing model can I print next? Could I turn this model into a lamp?

What I took from that experience was more than just the excitement of trying a new tool. It opened up questions about how abstraction changes when it moves between formats—screen to print, digital to physical, idea to object. "S-Klein" became a turning point for me, showing how digital imagination could cross into tangible space. That’s something I keep returning to in my practice: exploring how concepts that feel intangible, like memory, time, or perception, can be translated into forms we can encounter directly.


Q: How do you approach the tension between design clarity and open-ended experimentation in your work?


A: I am really thankful for my graphic design background as it taught me to work with constraints and rules. That mindset helps when I am experimenting, because the real challenge is knowing when to stop exploring and start making decisions—choosing which parts of the experiment are worth refining. Sometimes I bring design clarity into the experimentation phase, but I also know it can hold creativity back if I lean on it too early. For me, it’s about timing: giving myself the freedom to explore without pressure, then stepping back and shaping the work so it can communicate clearly.

In the end, I want my projects to remain open and conceptual, yet still communicative. That balance is where the work feels most alive to me—structured enough to be understood, but loose enough to invite curiosity.


Q: Collaboration and context seem to matter in your projects. What do you take from showing your work in different spaces and situations?


A: For me, it’s always a fun challenge to figure out how to present my work in a new space. Only in recent years have I really started thinking about where the work will be shown and for what purpose—but that awareness has definitely changed how I approach projects.

I still vividly remember the first time I had to confront this. It was during Covid, in my second year of graphic design. Normally we would submit work in person, with a portfolio folder and a USB stick. 

Suddenly, everything had to be presented digitally, which pushed us to be more creative—mocking up outcomes, documenting the process differently, and paying closer attention to photography. It was an interesting shift. It’s a bit like tailoring a CV to a job application: you adjust the presentation depending on the context, while the core of who you are stays the same. The same goes for my practice—the work might shift in format or emphasis depending on the space or audience. This becomes especially important with interactive pieces, where the environment shapes how people engage. During this learning curve I was also introduced to the idea of play testing—essentially getting feedback on how people interact with a piece. That process has become really important to me, because it helps refine not just the work itself, but the way it is experienced.


S-Klein - 3D printed scultpure
S-Klein - 3D printed scultpure

Q: Technology is deeply present in your process. Where do you see it taking your practice next?


A: I would love to pursue world-building further, especially within VR or AR. If the opportunity comes up, I would also like to work on more collaborative installations—I find those projects a great way to learn and share experiences with other creatives. It is even better when it is with people I already know from university. However, I genuinely enjoy collaborating in any context. At the same time, I want to keep my practice multidisciplinary. My love for graphic design will always stay with me, and I see it continuing to inform how I structure and communicate ideas, even as I explore new technologies. Where it goes next will depend on time and commitments. I imagine it will always be about finding new ways to combine clarity, experimentation, and storytelling across formats.

 
 
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