The works of well-known Thai female contemporary artists Araya Rasdjarmrearnsook (b. 1957), Imhathai Suwatthanasilp (b. 1981), Pinaree Sanpitak (b. 1961), and Kawita Vatanajyankur (b. 1987) draw ordinary objects and human experiences into a fertile discussion of memory, spirit, femininity, value, and connection. Informed by her earlier work, conducting and filming rituals in morgues for the dead without families, Araya uses her previous experience and knowledge of Thai ritualistic practices to create a series of video works evoking the pedagogy of the classroom and the intimacy of private ceremonies. In these, she attempts to connect the worlds of the living and the dead, referencing the traditions of village storytelling and creating continuities between the present and the past, the everyday world and the world of spirits and legends. In a similarly personal and commemorative practice, Imhathai collects human hair, turning it into works that convey meanings relevant to the life of the person whose hair it was. These works serve as a kind of diary, reminding the artist of certain formative experiences and generational relationships. In her iconic artworks, Pinaree draws on the complications of femininity by using the form of breasts, comparing them to bowls—as metaphors for fertility and abundance—or stupas—thus querying the idea of the sacred and profane in Buddhism. These themes are also present in her installation, where she uses materials, such as textiles and mulberry paper, to explore issues of femininity and feminism. For her part, Kawita’s video works place value on the daily struggles and working conditions of women living in patriarchal, capitalist society. In her staged performances, she undertakes physical experiments that playfully, and often painfully, test her body’s limits, using quotidian household props, such as laundry, kitchen utensils, ladders, ice grinders, brooms and juicers.