In March of the Termite, Sawasdee probes the intricate social structures of termite colonies, drawing parallels to human society. The work stems from extensive research into these ancient social insects, whose survival hinges on a rigid caste system.

The artist's fascination lies with the blind worker and soldier termites, their communication limited to pheromones and rhythmic head-banging within their tunnels, and how they are enduring creatures tirelessly decomposing matters for the earth, and are vital to maintaining a healthy balance in the ecosystem. Sawasdee captures these visceral sounds, incorporating them into a performance set to "Worker's March" (มาร์ชกรรมกร), an anthem composed by Thai leftist activist Chit Phumisak (1930-1966).

On stage, Sawasdee, theatrically adorned in a subversive, black-metal-like costume aimed to embody the essence of a termite, even mimicking its head-banging movements. The performance is not a critique or parody of Phumisak's lyrics, but rather a jarring juxtaposition that amplifies and celebrates the song's message. It invites viewers to confront the absurdity of our own societal structures, and questions the inescapability of traditional class systems, persistent undervaluing of labor, and the struggle for equality.

With focus on socio-political and cultural landscapes of Thailand, his practice often engaged with symbols, iconography, and institutional imagery in order to explore how these elements could shape the beliefs and imprint upon the conscious awareness of the public. Recent exhibitions include Absurdity in Paradise, Museum Fridericianum, Kassel, Germany (2018); PostScripts, Praisaneeyakarn (2018); TO WHOM IT MAY CONCERN, Bangkok CityCity Gallery, Bangkok (2017); Mutual Unknown, National Gallery of Indonesia, Jakarta, Indonesia (2017), among others.