Whether Phanggungfook is painting portraits, producing autobiographical works or making individual pieces for her installation, her work is about intimacy and emotions. It describes the multiplicity of her family life, describing a raft of emotions and the journey she has undertaken. The topics are important to her, they are intrinsically linked to who she is today. Although the stories are sometimes cryptic, the underlying message is the everyday, stories and experiences we can all relate to. In Phanggungfook’s practice she is combining her traditional skills as a textile designer and amalgamating with fine art. Dogs are a significant feature of Phanggungfook’s work, the message is ambiguous, she uses dogs as a metaphor for the people they represent.
Phanggungfook explores portraiture in the contemporary art world, investigating a popular form of representation, the selfie as an instrument in portraiture, it is her observations of the people close to her. As part of Phanggungfook’s practice she asks her subjects to take a selfie photograph as participation in development for her work. She then paints from this image. In her practice, by using the selfie, she creates a particular dynamic of representation central to the outcome of her portraits. Phanggungfook is combining society’s obsessions with the selfie and her interest in fine art portraiture to produce fun, childlike images full of wonder.
Phanggungfoopk’s practice also involves painting and installations, the objects for the installation merge painting and sewing. The installation incorporates characterization’s of her family, and items of clothing that have been hung on a domestic clothes line. The clothes are facsimiles of real items preserved, kept, found, they are about choices, commitment, love, memories and tenderness.