This disillusionment, however, paved the way for a powerful re-emergence. Galvanized by the 2020 pro-democracy protests, Sina embraced the identity of a “creator” and political illustrator, using digital platforms to disseminate sharp, satirical, and widely-shared critiques of authoritarianism. He became a key visual voice for the movement, bringing his art to the frontlines through the flash mob exhibition I(‘M) HERE TOO, joining the art collective “FreeArts” as a member, and co-founding the “Democratic Illustrators” group. His work during this period championed the idea that art is a common tool accessible to everyone for creating social change, supporting a Copyleft concept that allows the masses to freely reproduce and adapt his works. This effectively challenged the sanctity of the gallery space and the status of the artist himself.

This journey of critique and resilience has led him to Khon Kaen, where he identifies as a “cultural refugee” from the centralized Bangkok scene. Here, in 2023, he founded ALIEN Artspace, an independent initiative dedicated to platforming “other” voices and fostering a contemporary Isaan art community beyond romanticized stereotypes. Driven by a philosophy of “cultural profit” over monetary gain, this effort expanded into driving an alternative art space network named TAPs (Thai Alliance Project Space) in 2025 to create a community-centric art ecosystem connecting various regions together. Through ALIEN Artspace, the TAPs network, and his continued creative practice, Sina is actively working to explore new possibilities of what art can be and for whom it is created.

After officially pausing solo exhibitions for nearly a decade, he returns with a major solo exhibition crossing the years 2025 - 2026, titled "Can't We Recant?" at Kinjai Contemporary. This exhibition serves as an anatomical dissection of his memories over four decades. By seamlessly weaving the micro-history of a Thai middle-class family into the trauma-laden macro-history of Thai politics—from Black May 1992 and the 2010 crackdowns to the ongoing human rights crisis under Article 112—the exhibition reviews the endless cycle of history and affirms the existence of a humanity that refuses to surrender.