'The process of creating the tapestries is a sort of meditation for me. It keeps me sane,' says Siributr, who can spend up to two years preparing for a show.

In Photo Op (2005), people dressed in animal suits are grouped in every available space of the 150cm x 150cm square tapestry, posing with fake toothy smiles. Look a little longer and you'll find a couple in the middle of an erotic exercise dressed in panda suits, and just under them is a table of rabbit- and donkey-suited partygoers with their wine glasses.

'It's about how people pretend world problems don't exist. People focus on material possessions such as acquiring expensive furniture and throw lavish parties while turning a blind eye to some of the most pressing issues we're facing.'

Another similar poke at living the cushy life is evident in Drinks Party (below). Here, the lower third of the square is void of colour. The animal-human figures are hollow, while the more colourful figures stand above them in a queue waiting to climb up rickety ladders.

'This is what happens with some people who social climb at parties. They work so hard to get to the top of the class system, and the moment they get to the top, they're ready to look down on those below them,' Siributr says.

Other than tapestries revealing and critiquing Thailand's privileged, Siributr's later pieces such as Blanc Expert (2006) jab at the region's obsession with whitening products formulated to help Southeast Asians look 'clean'. Just how far would we go to correct our 'flaws'? The question is spread out in turquoise strips highlighted with hot pink.

In the layers and complex stitches that make up his colourful fabric 'paintings', Siributr pieces together his observations on society's contradictions, showing us the fine line between religion and superstition, devotion and obsession, or refinement and coarseness - all with a twist, of course.