\u201cIt comes from fascination with the material itself. Glass has its own sensitivity whether through touch, sound or the way light passes through it. Each technique creates a different kind of beauty when light reflects through it.\u201d<\/p>\n<\/blockquote>\n\n\n\n
Here, we explore her journey.<\/p>\n\n\n
![\"\"](\"https:\/\/www.koktailmagazine.com\/wp-content\/uploads\/2026\/05\/5A228E3C-B513-4F2E-A467-B1CFAC9091CA-680x1024.jpg\")
From Discovery to Practice and Teaching<\/strong><\/h3>\n\n\n\nHer path began at Silpakorn University, where she studied jewellery design. During her studies, she was first introduced to glass art by a visiting glass artist at her university. That moment changed her direction. She began exploring glass art more deeply through research and reading about international artists, many of whose works had not yet been seen in Thailand.<\/p>\n\n\n\n
\n\u201cI studied the work of international glass artists and became very interested in it. The process of making glass is not simple compared to other materials. For example, ceramics involve shaping clay, which feels more straightforward and controlled. But glass requires heat and is very sensitive to temperature. You have to constantly control it because every technique depends on the precision of that control. It requires a lot of accuracy and attention throughout the process.\u201d<\/p>\n<\/blockquote>\n\n\n\n
After graduation she continued her studies in the United Kingdom. She pursued a Master\u2019s in glass art, where she encountered a wider range of techniques and approaches rarely available in Thailand. This experience further strengthened her interest in the medium.<\/p>\n\n\n\n
\n\u201cI still remember my final university project. It\u2019s still very memorable for me to this day. It was called Inner Garden. It explored childhood memories, where I translated that feeling into a garden-like space. I used clear glass throughout and created forms that felt like trees growing into chairs. Every time I think of childhood memories, it gives me a sense of calm. That was the idea behind it, like sitting inside a garden made of memory.\u201d<\/p>\n<\/blockquote>\n\n\n\n
After returning to Thailand, she received a scholarship from Bangkok Glass (BGC), which supports glass art education with the aim of developing Thai students and artists through international learning experiences and raising the visibility of Thai glass art on the global stage. She was selected for the programme and continued her studies in Japan, also participating in the 34th Niijima International Glass Art Festival, where she studied under Japanese glass artist Kentaro Yanagi.<\/p>\n\n\n\n
Since formal glass art education in Thailand was limited, these experiences became an important part of her learning. After completing her studies, Tonaor opened her own studio in Hua Hin called Little Blue. She was later invited by her former professor to return to Silpakorn University as a lecturer, and she also teaches at Bangkok University and Chulalongkorn University.<\/p>\n\n\n\n
\n\u201cIt\u2019s fun teaching students and it feels fulfilling in a way. I once struggled to find a place to study this, so being able to teach now feels like a chance to pass it on to others who want to learn the same way I did.\u201d <\/p>\n<\/blockquote>\n\n\n\n
Today she works between Hua Hin and Bangkok, teaching in the city while creating most of her glass art in Hua Hin.\u00a0 <\/p>\n\n\n\n
\u201cI studied the work of international glass artists and became very interested in it. The process of making glass is not simple compared to other materials. For example, ceramics involve shaping clay, which feels more straightforward and controlled. But glass requires heat and is very sensitive to temperature. You have to constantly control it because every technique depends on the precision of that control. It requires a lot of accuracy and attention throughout the process.\u201d<\/p>\n<\/blockquote>\n\n\n\n
After graduation she continued her studies in the United Kingdom. She pursued a Master\u2019s in glass art, where she encountered a wider range of techniques and approaches rarely available in Thailand. This experience further strengthened her interest in the medium.<\/p>\n\n\n\n
\n\u201cI still remember my final university project. It\u2019s still very memorable for me to this day. It was called Inner Garden. It explored childhood memories, where I translated that feeling into a garden-like space. I used clear glass throughout and created forms that felt like trees growing into chairs. Every time I think of childhood memories, it gives me a sense of calm. That was the idea behind it, like sitting inside a garden made of memory.\u201d<\/p>\n<\/blockquote>\n\n\n\n
After returning to Thailand, she received a scholarship from Bangkok Glass (BGC), which supports glass art education with the aim of developing Thai students and artists through international learning experiences and raising the visibility of Thai glass art on the global stage. She was selected for the programme and continued her studies in Japan, also participating in the 34th Niijima International Glass Art Festival, where she studied under Japanese glass artist Kentaro Yanagi.<\/p>\n\n\n\n
Since formal glass art education in Thailand was limited, these experiences became an important part of her learning. After completing her studies, Tonaor opened her own studio in Hua Hin called Little Blue. She was later invited by her former professor to return to Silpakorn University as a lecturer, and she also teaches at Bangkok University and Chulalongkorn University.<\/p>\n\n\n\n
\n\u201cIt\u2019s fun teaching students and it feels fulfilling in a way. I once struggled to find a place to study this, so being able to teach now feels like a chance to pass it on to others who want to learn the same way I did.\u201d <\/p>\n<\/blockquote>\n\n\n\n
Today she works between Hua Hin and Bangkok, teaching in the city while creating most of her glass art in Hua Hin.\u00a0 <\/p>\n\n\n\n