Imhathai has developed a signature mode of production using human hair—often her own—which she weaves, crochets, embroiders or laces into quiet, intimate two and three-dimensional works that reflect on the nature of familial ties, domestic life, the female body and feminine identity. It was after receiving her master’s degree from the Faculty of Painting, Sculpture and Graphic Arts at Silpakorn University that she discovered hair as a material with which to interweave contemporary art and human life. In culture, hair plays an underrated symbolic role—for example it is connected with rituals, personal identity, gender status as well as state of mind.
Imhathai was invited to Ketemu Project’s artist in residency program for the project “Merayakan Murni”. During her residency in Bali, she was inspired by various forms of found objects, such as Kendi pottery, shape of leaves, ceremonial objects (dulang: tray for placing offerings) and also temples. It was to respond to Balinese I GAK Murniasih’s artworks and the position of women. In Bali, women don’t have a place in their own family shrines. Through marriage they would get married to their husband’s family shrine. Imhathai wanted to make a temple dedicated to women – one that she calls Murni’s temple.