- Sakarit Gunkhan (Chankaew) is a Brooklyn-based Graphic/Web Designer & Visual/Concept Artist
This project transforms discarded materials, including plastic bags, food packaging, bottles, cardboard, and print media, into a diverse series of printed, functional, decorative, terrariums, and wearable objects. The collection encompasses posters, postcards, pin buttons, tote bags, purses, backpacks, a sculptural poster, a jacket, a T-shirt design, and a mobile workstation. Building upon my Fall 2019 and Spring 2020 project Quisquiliae: 21st-Century Dadaism, Art and Design for All Possible Worlds, as well as my 2022 Trash-to-Treasure Bag Collection, this body of work reimagines waste as a creative resource and a catalyst for social transformation and environmental reform.
Beyond addressing the climate crisis, the global waste catastrophe, ocean pollution, and overconsumption, the project also examines the decline of print publishing through the material reuse of old magazines and newspapers. The work has been presented in two exhibitions: my solo exhibition, Trash Crisis: Act Now or Live with It, at the Juliana Curran Terian Design Center, Pratt School of Design and INTER/PLAY, a collective exhibition showcasing student work that transcends disciplinary boundaries by integrating mathematical and scientific concepts into creative practice. Organized by Pratt’s Math and Science Department, INTER/PLAY explores the intersections of mathematics, science, ecology, the environment, and sustainability.

Responding to the United Nations’ warning of a “Global Boiling” era, this project critiques the culture of overconsumption, the inadequacies of contemporary waste management, and the unequal distribution of environmental harm. It hightlights environmental justice by recognizing that communities across the Global South often bear disproportionate burdens of waste pollution and climate change, despite contributing unequally to the global emissions and consumption that drive these crises.
By bringing together graphic design, motion, interior design, gardening, dressmaking, textile design, haute couture, and avant-garde wearable art, I transform upcycling into both a material practice and a form of environmental activism. Through an immersive installation that unifies the objects created throughout this series, I reinterpret Gesamtkunstwerk—’the total work of art‘—as an interconnected ecological and social experience. Rather than merely integrating multiple artistic disciplines, the installation connects material reuse, consumer responsibility, and environmental justice, inviting audiences to reconsider the global consequences of consumption and the possibilities of transforming discarded materials into instruments of social and ecological change.

A selection of featured works demonstrating how graphic design, sculpture, print, fashion, and motion graphics converge into a unified artistic vision, transforming environmental advocacy into a multidisciplinary total work of art.
This series comprises a large-format poster, smaller posters, postcards, stickers, and a printed T-shirt. I deliberately employ dark silhouettes, bold outlines, and thick, simplified forms to ensure that the imagery remains legible and reproducible through screen-printing techniques, which may struggle to render fine lines and intricate details, particularly at smaller scales.
This design strategy also considers the limitations of printing infrastructure in regions with limited access to advanced equipment and production resources. By prioritizing visual clarity, technical adaptability, and affordability, I envision these works as accessible tools for grassroots environmental activism. Small activist groups and community organizations could reproduce and distribute the designs for public awareness campaigns, community outreach, and fundraising.
In this way, the series extends beyond visual communication to explore how art and design can support collective action, democratize access to creative resources, and amplify environmental advocacy, particularly in communities disproportionately affected by pollution and climate change.







A T-shirt design developed to demonstrate how my original artwork could be translated into screen-printed applications. Although the T-shirt was not included in the exhibition, it serves as an example of how the visual language of the series could extend into wearable design.
A visualization of the poster reimagined for public display across billboards, walls, and other urban environments, extending its environmental message beyond the exhibition and into everyday public life.



Designed for immediate public impact, this 3D sculptural poster prioritizes bold typography and high-contrast underwater themes to communicate the urgency of overconsumption, waste pollution, ocean pollution, and the climate crisis.
A banner constructed entirely from discarded cardboard boxes, the work carries an urgent message: “ACT NOW: Or Live With It.” This direct statement confronts viewers with a choice between immediate environmental responsibility and its devastating consequences. Extending the project into digital space, dynamic motion graphics employ fluid ocean imagery and vibrant colors to convey the complexity of ocean pollution. Together, these works combine visual impact, material reuse, and public engagement to transform environmental awareness into a compelling call for collective action.












Dadaist collages were laid out before being stitched into functional totes and handbags. Designed for extreme durability, the pieces are lined with heavy-duty organic cotton canvas capable of carrying over 50 kg (110 lbs). The project title derives from Quisquiliae, the Latin term for “waste matter.”


In Latin, continens means "holding together," "continuous," "mainland," or "connected land."
This purse is crafted from absorbent packaging wadding and used plastic nylon thread rolls, reconceptualizing and transforming discarded materials into functional items while displaying them as an art piece.

This purse is crafted from discarded materials and shaped like a 3D Dadaist sculpture. It is both functional and durable.









This jacket is part of my “Quisquiliae 21st century Dadaism: Art and Design for All Possible Worlds” series, and it addresses the decline of the publishing industry caused by new online business models, economic crises, and increased commercialization.
Dadaist collages were first constructed from upcycled newspapers, magazines, and found objects. Then, the collages were draped on a mannequin to form the shape of the jacket, creating a voluminous and avant-garde structure. A zipper was stitched so the jacket would be easy to put on or take off, and plastic inner and outer linings were added to make it rain-resistant.
Decorations made of mesh packaging, jingle bells, and bubble wrap add texture and a chic finish, while ostrich feathers provide a “haute couture” look. (Quisquiliae means “waste matter” and Vestis means “clothing” in Latin.)
Additional works developed as part of the project, exploring its concepts, visual language, and potential applications beyond the exhibition.











For years, the Pratt Math & Science department has offered courses that challenge students to transcend disciplinary boundaries by integrating their research into math and/or science ideas into their creative process.The show highlights exemplary work at the interface between science, technology, engineering, and mathematics (STEM) and the diverse creative disciplines represented by Pratt’s majors.More than half of the work in the show was produced for one of the Pratt Math & Science courses. The department is grateful to collaborate with the working group of MSCI faculty/staff who curated the show, and to the students/collaborators who generously offered their work for inclusion in the show.