[1] Before pursuing her passion for art and making the transition to being a curator, Gaweewong worked as an English teacher and a librarian in a refugee camp in Phanat Nikhom.
[9] More specifically, she looked to various artist collectives in her research, such as the Chiang Mai Social Installation, ruangrupa's Militia and Video Art Festival, as well as TheatreWorks' Flying Circus Project.
[11] In the essay, she exposited on Thailand's history, Buddhist philosophy and globalisation, and how these factors influenced various generations of Thai artists and filmmakers.
[11] Project 304 was founded by curators such as Gaweewong and Edourd Mornaud, together with an eclectic group of Thai artists and art lecturers, including Montien Boonma, Kamol Phaosavasdi, Niti Wattuya, Chatchai Puipia, Micheal Shoawanasai, Apichatpong Weerasethakul, and Prapon Kumjim.
The Project was primarily an outdoor sculpture festival but also served as an intervention to Bangkok's dominance as the centre of contemporary art and culture of Thailand.
[13] It sought to do so by situating Chiang Mai's rich culture, traditional craftsmanship and Thailand's large population of ethnic minority Yao people as an alternative to Bangkok, and distinguishing itself from white-cube based galleries and art museums.
[1] In her classes, she engaged with alternative art histories from the perspectives of Southeast Asia, as well as invited various artists as guest speakers from that region.
[9] This also allows her to understand both the environments and ideas that shaped the artists' mind and thinking process, as well as how they respond to their reality, community and family.