Natalie Sasi Organ

I knew Natalie Sasi Organ before I really knew her work. I first met her before COVID, when she was still studying at Central Saint Martins in London. She was one of those familiar faces I would regularly run into at gallery openings and art events in Bangkok.

It was only later, when Natalie was sharing a studio with another friend of mine, that I came across her paintings. Natalie was not there that day, but I remember being immediately drawn to them, and then being surprised when I realised they were hers. I had to give her a call.

Natalie is a Thai-British artist who grew up between different places and family histories. After graduating from Central Saint Martins in 2022, she returned to Thailand, and much of her work has dealt with memory, belonging and what it means to live between cultures. In one series, she brought together fragments from her grandparents’ home in Bristol and her parents’ first apartment in Bangkok: an armchair, a curtain, a bedside lamp, small domestic objects that become markers of people and places that are no longer quite there.

Her practice has since expanded beyond painting into sculpture and installation, drawing increasingly on family histories, inherited traditions and the movement between Thailand and Britain. In 2026, she was selected for the Debra Porch Award residency at UNSW Galleries in Sydney, where those questions of migration, memory and cultural hybridity continue to form the basis of her work.

When I contacted Natalie to ask if she would be interested, I found out that she had moved her studio to Punnawithi. She was sharing the space with Dohee Kwon, another artist I would later photograph. Natalie took me upstairs to her bright, cosy studio, where we spent the afternoon shooting among her paintings and works in progress. It was a nice way to come back to the work that had first caught my attention, this time with Natalie there.