Racharudee begins with the deconstruction of a family clan book that records the history of the Zhu lineage in China from 1911 to 1941. Each page was torn, pulped, and remade into new sheets of “memory-layer” paper. Through this transformation, the work questions how historical objects hold meaning. Does the significance of an archive remain when its form disappears? What determines an object’s value — its content, its material, or its visibility?

The project takes its title from Racharudee, the first “Royal Museum” in Thailand, which displayed King Rama IV’s personal collection only to royal guests and foreign ambassadors. This closed, selective context echoes the work’s interest in exclusivity, accessibility, and the private nature of historical memory. Racharudee reflects on how histories are preserved, concealed, or reshaped, and how the act of keeping or altering an object can shift the narrative it carries.