I first met “Mai” Kawintra Wongsawasdi in 2022 when she was a curator at 333Gallery, a contemporary space for Southeast Asian artists in Bangkok’s Creative District. A mutual friend introduced us at a social gathering I was co-hosting, we exchanged Instagrams, and she promptly invited me to a show happening that week.
✦
It turned out to be one of the most profound and memorable exhibitions I’ve seen, and afterwards, we even took a fun little art excursion at River City Bangkok (a must-visit for gallery-goers in Bangkok).
Mai is an independent curator with a knack for spotlighting rising Asian talent, and her warmth and approachability as a curator – not to mention apparent good taste – had me saying yes to every show she invited me to thereafter.
Now a recognisable name in local and regional art circles, she’s earned a reputation for contemporary Asian perspectives and being an advocate for emerging artists.
I caught up with her to talk about the state of art in Asia, her thoughts on regional artists, and why supporting young creatives matters now more than ever.
Photos: Mai Kawintra
For those who don’t know you, can you give us an introduction to yourself and how you got into this career?
I was born and raised in Pattaya, where my family runs a small resort. I moved to Bangkok in high school and later did my degree in filmmaking at the London College of Communication. In 2018, I started working on art projects, but more on the production side. By 2020, my role shifted into something more creative, and that’s when the “curator” title first started being used. Since then, I’ve done a range of exhibitions – solo, group, thematic – and I’m proud that many of them have helped young artists find their voice and audience.
What are you currently working on?
Right now, I work independently, but I collaborate regularly with Art Focus, a new project under Tang Contemporary Art. I curate monthly shows there featuring young and emerging artists.
Aside from that, I work on both commercial and personal projects. The commercial ones are more management-focused, while my independent projects let me dive deeper into curating and concept-building. I try to balance both. It helps me stay creative while also making a living.
Which artists are you excited about right now?
I’m excited about the artists I haven’t met yet. I love discovering new voices, especially those with meaningful stories or fresh ways of seeing the world.
So I guess I’m most excited about what’s coming next. There’s so much potential out there.
Photos: Mai Kawintra
How do you feel about young Asian artists and the art scene closest to you?
In Thailand, I see a lot of young artists who are bold, honest, and unafraid to speak up. Their work explores identity, social issues, and politics in a very real and personal way, which is exciting to watch. But at the same time, we have to be mindful.
There’s a growing hype around what’s trendy, and while that can bring attention, it’s important we don’t treat artists like short-term moments. The goal should be to support them in the long run, help them grow, and give them space to evolve.
Recently, I visited some art galleries in Beijing. I noticed many artists are focusing on AI and technology, while also questioning how society is changing with these new developments. It’s interesting to see how different cities and artists approach the big questions of our time.
How does this reflect the current landscape of Asia today?
Asia is changing fast, and you can see that in the art. There’s this tension between tradition and progress, and young artists are navigating that space in really interesting ways.
Their work reflects what it feels like to live in Asia right now, and that’s powerful.
Are there any obstacles you feel need to be overcome in the industry?
Definitely. There’s still a lack of support, financial, institutional, and even emotional, for emerging artists. It’s hard to find long-term mentorship or spaces that really nurture creativity. I think we also need more openness, more room for different voices and ways of working.
What are your hopes for your industry in the future?
I hope to see more professionalism, ethics, and integrity in the art world. Respect the process and respect the people. That means paying artists and art workers fairly. If we really want to support the system, we have to value the time, effort, and creativity behind it.
I also hope for more understanding from the business side that art isn’t just decoration or a clever marketing tool.
There’s meaning, emotion, and intention behind creating art. And that should be recognised, too.
Lastly, why are young Asian artists worth investing in?
Because they’re not just making art, they’re making meaning. Their work helps us understand where we are and where we’re going. Investing in them means supporting new ways of thinking, seeing, and imagining the future. And I think that’s something we all need.
