SHOWCASE

/ ARTIST / 2026

ARTIST: PORSZA
COUNTRY: Thailand
CONTACT: PORSZA.com
https://www.facebook.com/porsza.zaza
https://www.instagram.com/porszaaaaa/
https://x.com/PORSZAAAAA
My name is Porsza. I am an illustrator and design student based in Bangkok. In my work, I explore the potential of different mediums for storytelling from the tiny bits of stroke to how you approach the art. I love making sure that my work is lound and bold just like myself!

In The Locket - 1

In The Locket series consists of 4 sets with 12 separate paintings.
The representation of trans, gay, lesbian, and aroace communities in the pieces is an homage to me, my friends, and my girlfriends.

The lockets placed next to the paintings contain tiny pieces that were cropped out of the big paintings, resembling the fragments of intimate moments that can’t be shown out in the open.
No matter how big and vibrant those memories are to us queers, they can only be kept in our hearts, like these small pieces that — in the end — are recognizable only by the carriers of the memories themselves.

The series are all slightly crumbled at their corners and are placed separately to represent relationships with others and ourselves that can be rough at times, but once put together, they still compose heartwarming pieces that are complete in their own way.

In The Locket - 2

from the left
Trans Gays Lesbians and Ace

ToGather - 1

To Draw, To Tell, To Create — ToGather
ToGather is a comic designed to raise awareness about the importance of connections within the comic community—fostering relationships between readers and creators through story , format, and visual narrating.

The story follows Khem, an architecture student who loves comics but lacks the confidence to create one of her own. One day, she discovers a sketchbook filled with another artist's experiences. Reading it sparks a journey that gradually connects her with other creators who have faced the same doubts, fears, and aspirations.

The publication consists of three small books bound together within a single accordion-fold cover. Each book tells a different part of the story, while the accordion binding physically and conceptually connects them into one narrative—reflecting the central theme of individual stories coming together to form a community.

ToGather -2

This work explores how comic panels themselves can also tell the story. The arrangement of panels, the distance between characters, their scale, and the way they are composed within each frame all reveal the story, their relationships, and their inner thoughts.

The glass house represents an environment that refuses to let different flowers grow because it fears the butterflies will fly away. It is a metaphor for a common fear among artists: the hesitation to try something new because of the expectations of an existing audience or the pressure to continue making the work they are already known for. The fear of losing recognition can discourage experimentation and creative growth.

This work reflects how isolation and the lack of open dialogue can reinforce those fears. By creating spaces for connection, sharing experiences, and building community, artists can encourage one another to embrace change, take creative risks, and grow beyond the boundaries they have built for themselves.

ToGather -3

ToGather is a reminder for artists—and anyone interested in art—to take the risk of creating.

During my research, I found that the Thai book industry has increasingly become focused on books as collectible objects. At the same time, there is a lack of public spaces and libraries where people can freely discover independent comics and connect with creators.

This project explores the importance of creating spaces that support artists and their communities. Rather than existing only as a book, ToGather is intended to be placed in locations where artists and readers naturally gather, such as cafés, bookstores, and creative spaces, including Gimbocha, Hon to shiki, Honnunglen, and Baan Pat & Jeanne.

After placing the book in these spaces, I received positive feedback from readers. Many discovered the book by chance, and several shared that it encouraged them to create, inspired them to make comics, or reminded them that they are not alone in their creative journey.

Sorry For Being Dramatic It will Happen Again

I love makeup and fashion because they allow me to express who I am. We often think of self-expression as something beautiful, polished, or put together, but I also believe that expressing difficult emotions—like crying—is just as important.
This painting is made with makeup from my own vanity table.
This work is about embracing emotion without shame. Makeup can be a form of confidence, play, and identity, but it does not have to hide sadness. Sometimes, looking put together and falling apart happen at the same time.

Burn This If I Die

This is the cover for a sketch compilation planned for publication in 2026.
As an artist, there are drawings I make for the public and drawings I make only for myself. Sometimes those two worlds overlap, but there is always a secret stash that I keep private—or only share with close friends. I value both equally.
Not everything is meant to be public. This collection brings together personal sketches that explore themes of sexuality, the body, and curiosity—subjects I have often kept hidden. By publishing them, I am questioning where the boundary between private and public truly lies, and whether some of the most honest parts of my practice deserve to be seen after all.
For a long time, I imagined these pages as something I would rather want someone to burn if I died. But looking at it honestly, I think these drawings are too good to be kept a secret.
I am trying to build a healthier relationship with my practice; these drawings have become just as much a part of my artistic journey as any finished piece. They allow me to practise anatomy and document moments of experimentation. Some people might enjoy them too.
That said, it’s still quite embarrassing, so please burn this after I die.

Play By The Heartbeat

This lenticular print was created to be used as the pickguard for my bass guitar. The concept grew out of countless hours spent practising with a metronome in preparation for live performances. While practice is the way to becoming a better musician, they can sometimes make playing feel bored that I want to ditch my metronome and play by my heartbeat.

I Create, Therefore I Exist

I am an artist because I create. But what happens when I can't create?

This question has stayed with me for a long time. Sometimes I know I need to take a break, yet resting often fills me with anxiety. I feel pressured to keep creating—to keep feeding the algorithm, to stay visible, to prove that I still exist as an artist.

Drawing on my own skin has become a way of grounding myself during these moments of insecurity. Sometimes the marks are only quick scribbles. Other times, I wish I could peel them from my arm and paste them onto paper, preserving them as something that proves my existence.

This work reflects my ongoing relationship with the statement *"I create, therefore I exist."* Some days I believe it completely. Other days, I question it. Through these temporary drawings, I explore the fragile space between creation, identity, and self-worth, asking whether my existence as an artist depends solely on my ability to produce.

ก่อนที่สะไนจะเงียบลง - Local Calling

The three illustrations are designed to flow seamlessly into one another, like the sound of the Snai (สไน) traveling from the musician to listeners in the present day. The visible pencil lines are intentionally left unfinished, symbolizing the way Thailand's music industry continues to overlook and neglect local traditional instruments.