(Interpreted from excerpts from Gridthiya Gaweewong’s introduction of “Temporary Insanity” at Jim Thompson House, 2004.):
Pinaree’s sculptures are not merely an object (of desire and with desire) but are imbued with their own emotions. ‘temporary insanity’ defines a shift from more formal sculpture to interactive soft sculptural work. Using silk to create a soft form, she arrives at an image that falls somewhere between breast and stuppas. Inside her sculpture she hides sound sensors which can be activated by the viewer's voice. Gradually, responding to the sounds of the audience, her soft sensual forms begin to move, undulate and becoming active: no longer passive object but something with a life of its own.

‘Temporary Insanity’ creates bodily spaces for people to enter. Interaction has been extended, not only by permitting the viewer to enter into the space of her work, but also by having her work react to the viewer's sounds. Audience interaction through laughter, voices, shouting, clapping hands, foot steps creates a curious effect.

The installation crosses over the gender line and attempts to define the humor and the vigor of the fragile senses of human beings. However, the ultimate goal remains challenging not only the conscious and subconscious of the viewer but also her own.