The title "I-M-Material" represents the overarching theme of our research on Mae Nak, as well as the outcome and final direction. I-M-Material is a word play of "Immaterial", which means unimportant and irrelevant; spiritual rather than physical.

 

By breaking the word “immaterial” into three sections, it now reads as "I am material" - signifying that “I” (a woman) am material or important, relevant and physically here rather than just a spiritual entity. 

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The abstract half human figure, half creature-like contemporary art sculpture we created represents the belief in folklore within Thai society, and also Mae Nak's rebirth. Mae Nak becomes a metaphor for all women: she is bursting out from the heavy, sculptural bottom - extricating and fighting to release herself from the animal/spirit/demon part that represents society’s demands and expectations of Mae Nak. 

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Mae Nak is able to grow and reform herself from the quicksand of demands, represented by the Thai lotus motif/unalome. In Buddhism, yellow is a symbol of desirelessness and renunciation. It is a way of showing that Mae Nak is refusing to conform and fulfill others’ expectations, and instead is fighting for her “new life”. The bright yellow lotus unalome pattern is designed with intricate ancient Thai art elements known as Kranok, a type of motif symbolising flames, which expresses the idea of rebirth, like a phoenix arising from the ashes. 

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Additionally, a significant ritual devotees perform at Mae Nak's shrine in Bangkok is to take numbered balls from an urn for their lottery numbers. We recreated the idea by shaping the head portion of the sculpture into a cup shape and placing rolled-up strips of paper containing information on the achievements of women within Thai society. Instead of getting lottery numbers, the audience will receive knowledge when they dip their hands into the cup, and hopefully gain a better understanding and awareness of the sacrifices and accomplishments made by female figures in Thailand.