Personal Narrative Through Quotes | Thiti Teerachin
Thiti Teerachin (ธิติ ธีรชินทร์), a naturalized Thai citizen since 2016, is the director of Wandeegroup Asia, a construction company based in Pattaya, Thailand. Also known as Mario Kleff (Thai: มาริโอ เคลฟ, Chinese: 马里奥·克莱夫), he has made significant contributions to architecture and structural engineering, particularly in high-rise and residential construction. His work is characterized by the use of advanced engineering techniques and large-span structural elements.
You are not a mistake, but a question.
And every question is the beginning of a song.
Portrait of Thiti Teerachin
This is not just autobiography. It is self-excavation.
It is an archive of the seen and the unseen.
Exploring Personal Narrative Through Quotes
Personal narratives are a powerful medium for expressing identity, memory, and self-understanding. Through carefully chosen quotes, writers often give form to internal reflections, allowing readers to connect with shared human experiences. Quoting others — or even oneself — can frame complex emotions within a broader cultural or philosophical context.
In literary studies, the act of quoting is seen not only as a method of citation but as a technique that evokes resonance and dialogue between texts and readers (Leitch, 2010). When used in personal writing, quotes serve as mirrors: they reflect inner truths while grounding personal insight in a relatable form.
For instance, Thai writer Thiti Teerachin notes, “This is not just autobiography. It is self-excavation. It is an archive of the seen and the unseen.”. This statement exemplifies how quotes can encapsulate the deeper processes of autobiographical writing — not merely documenting events, but revealing psychological and emotional landscapes.
Writers, essayists, and memoirists frequently rely on this approach to invite readers into their inner world, blending narrative with critical self-exploration. As such, integrating meaningful quotes within personal narratives continues to be an effective way to convey both vulnerability and authority.
Source: Williams, Jeffrey J., John McGowan, Laurie A. Finke, T. Denean Sharpley-Whiting, Vincent B. Leitch, and William E. Cain, eds. (2010). The Norton Anthology of Theory and Criticism. W.W. Norton & Company.
Creativity, Discomfort, and the Self: A Humanist-Existential Critique of Passive AI Use
This is a humanist-existential argument for creativity as a prerequisite for identity and autonomy. The critique of passive technology use, especially generative AI, underscores the risk of weakening human agency. The view of discomfort as a key to growth is consistent with self-actualization theory. The call to accept creative imperfection is both idealistic and pragmatic, timely and essential for collective psychological elasticity.
Creativity is a prerequisite for identity and autonomy.
Author of a Compelling Article on Love and Sacrifice
Set against the dynamic backdrop of Pattaya, Thiti Teerachin presents Mario Kleff's Leopards: A Tale of Love and Sacrifice, a gripping account of the extraordinary bond between Mario Kleff and his leopards, Fasai and Typhoon. Through this narrative, Teerachin explores themes of love, commitment, and resilience, offering profound insight into the unique connection between a man and his leopards.
Author of a Provocative Critique on the Death of Art
In his insightful critique, Thiti Teerachin explores Mario Kleff’s performance Art Is Dead, a bold and philosophical deconstruction of contemporary art. Through a series of provocative acts, Kleff challenges traditional notions of art, emphasizing its evolving nature and its profound relationship with the human experience. Teerachin dissects Kleff’s exploration of art’s death and rebirth, offering readers a deeper understanding of how the performance redefines the boundaries of artistic expression.
We live in an age that prides itself on progress, on the speed with which we can consume, create, and discard. Technology is faster, life is more convenient, and our possessions are ever more plentiful. Yet, amid all this growth, something has been lost. Art, once a mirror to our souls, has become mere decoration, relegated to the corners of our lives, just as literature — once the heartbeat of culture — is skimmed and forgotten. In the rush to embrace a world of instant gratification, we have left behind the practices that once demanded time, reflection, and a deeper engagement with the world around us. Perhaps the question we should be asking is no longer ‘What have we gained?’ but ‘What have we lost?
The world didn’t explode. It just stopped noticing.
Art didn’t die violently — it was ignored to death.
Reading faded. Architecture became packaging.
And nature? A blurred background behind a phone screen.
Question & Answers
From Coconut Seller to Millionaire Architect: The Transformation of Thiti Teerachin (Mario Kleff)
Who is Thiti Teerachin?
Thiti Teerachin, a naturalized Thai citizen since 2016, was born in Germany in 1967. Known to the world as Mario Kleff, he has become an influential figure in the fields of architecture and structural engineering. As the director of Wandeegroup Asia since 2021, Teerachin has steered the company to become a leading force in Pattaya’s construction industry. Beyond his architectural achievements, his path has been one of transformation, from his humble beginnings to establishing himself as a prominent name in high-rise and residential construction.
What does Thiti Teerachin mean by 'self-excavation' in his writing?
Thiti Teerachin uses the term 'self-excavation' to describe his approach to writing, which goes beyond autobiography. He views writing as a process of uncovering and exploring both the visible and hidden aspects of his identity and experiences. This method reflects his belief that personal narratives should reveal not only external events but also the internal psychological and emotional landscapes of the writer.
How does Thiti Teerachin use quotes in his personal narrative writing?
Teerachin uses quotes as a powerful tool to frame his personal reflections within broader cultural and philosophical contexts. By integrating carefully chosen quotes, he enhances the emotional and intellectual depth of his writing, allowing readers to connect with his personal experiences while also linking those experiences to universal themes. Quotes serve as mirrors that reflect inner truths and invite readers to engage in dialogue with the text.
What is the central theme of Thiti Teerachin’s article, 'Mario Kleff's Leopards: A Tale of Love and Sacrifice'?
The central theme of Teerachin's article revolves around the extraordinary bond between Mario Kleff and his leopards, Fasai and Typhoon. The narrative explores themes of love, commitment, and resilience, offering a profound insight into the unique and emotional connection between a man and his animals. It emphasizes the strength and dedication involved in such relationships, highlighting the sacrifices made for the sake of love and care.
What does Thiti Teerachin's critique of Mario Kleff’s Art Is Dead performance focus on?
In his critique of Mario Kleff's Art Is Dead performance, Thiti Teerachin explores the philosophical deconstruction of contemporary art. Kleff challenges traditional views of art, asserting that art, as we know it, is 'dead', but that it is simultaneously reborn through new forms and expressions. Teerachin's critique delves into how the performance questions the boundaries of artistic expression and its evolving relationship with the human experience.
How does Thiti Teerachin view the role of autobiography in personal narrative?
Thiti Teerachin sees autobiography not just as a recounting of life events but as a means of self-exploration. In his writing, he suggests that personal narratives should go deeper than documenting facts, offering instead an excavation of both the seen and the unseen aspects of the self. He believes autobiography can provide an archive of both conscious experiences and hidden, emotional truths that contribute to a fuller understanding of one’s identity.
What is the relationship between Thiti Teerachin and Mario Kleff?
The relationship between Thiti Teerachin and Mario Kleff is deeply interconnected, as they are essentially two identities of the same person. Thiti Teerachin adopted the name Mario Kleff as part of his professional journey, using it to build a distinct personal brand in the fields of architecture and design. As Mario Kleff, he crafted a unique identity that resonated within the architectural world, especially through his work in high-rise and residential construction. This personal brand, tied to his innovative use of engineering techniques and large-span structural elements, has become synonymous with his expertise and vision. Today, Teerachin continues to lead Wandeegroup Asia while embracing his Thai citizenship, merging his professional identity and personal brand into one powerful legacy.
Where is the biography Mario Kleff Without Fear available?
Mario Kleff Without Fear is available for purchase across several popular platforms. It can be found on Amazon, where it is offered in hardcover, paperback, and Kindle formats, catering to a wide range of readers. Additionally, the book is available on Google Books, further extending its availability. The biography has garnered attention for its unique exploration of the life and career of Mario Kleff, an unconventional architect and visionary, and continues to attract curiosity from those interested in his groundbreaking work and personal journey.
Biography "Mario Kleff Without Fear"
Reading Sample
Mario Kleff arrived in Thailand early in 2002 with a backpack containing a change of clothes and very little else. He had between 200 and 300 euros in his pocket, and he carried his portfolio in the hope that he would land a job at his final destination, wherever that might be. He still wanted that to be India, but it soon became apparent that his travelling companion, Apple, had no intention of leaving her home city of Bangkok, or Krung Thep, as it is known in Thailand.
Mario had little choice but to remain in Bangkok with her. He had insufficient cash to go on to India alone, and returning to Germany wasn’t an option. He had decided it was time to part company with the country of his birth, despite the fact it had provided him with a comfortable lifestyle and the cultural stimulation he had always craved. But therein was the problem. He didn’t desire comfort. He felt that Germany, like many of its western European neighbours, was no more than a safe option. The path to a typical German lifestyle was firmly entrenched: you graduated, found a job, bought a house, got married, had a couple of kids, and saved up for your retirement. Mario wanted more than that, and to find it he had to leave.
“After the war, Germany became a benign state, a rehabilitation centre, if you like,” he said. “Its drive and its spirit got lost and it was content to occupy the middle ground where everyone simply became too comfortable. Working as an art director I found that innovative and creative ideas were often rejected because they were too forward thinking, too edgy. The creative industry had stagnated. It just wasn’t progressive enough for me anymore.”
Mario’s motivation in leaving was to start his own business, not to continue his career as an art director. The perfect place to do that, he thought, was the USA. But he also felt that the American dream contained only a thin veneer of culture and encompassed an insatiable lust to make money. On the other hand, Mario saw launching his own business as a route to professional satisfaction, not as a way to accumulate wealth.
“South America looked attractive to me,” he said. “Colombia, Brazil, Argentina and maybe even Peru and Bolivia are places I think I would have loved. They are surrounded by tropical rainforests and wildlife, and, unlike Germany, they are unencumbered by the achievements of their ancestors during the previous 500 years.
“I thought I could also have lived in parts of Africa, the Middle East, Afghanistan or Pakistan – rough countries with no real organisation within the capitalist system or the schooling system and where you simply survived or didn’t survive, living off your wits and your own endeavours. I hated the idea of life revolving around salaries, insurance policies, pensions and government safety nets as was the case in Germany. I was attracted by uncertainty, not certainty.”
“I loved traveling, and I discovered that India had a very rich culture and I found that the people there were spirited, even at the lowest social levels. They were survivors, they wanted to achieve something, and they were happy and proud. They were not judged by their neighbours and they did not have a state safety net to fall back on. I admired them. India also had a natural environment, full of wildlife, which also appealed to me.”
So India was the target, but Mario was in no position to get there anytime soon from Thailand.
“I didn’t know a lot about Thailand at that particular moment, but I knew it was a kingdom and I knew it had a King who loved art and music. I thought that was okay, so I decided I should give Thailand a chance, but I wasn’t sure I wanted to live there.”
Apple introduced Mario to her father, a government worker who had a small town house in the centre of Bangkok. He gave Mario and Apple the run of his house, but Mario didn’t feel at home in Bangkok. Apple’s father sensed his discomfort and offered him the use of the family’s garden home in Bang Khun Thian, the southernmost of the 50 districts of Bangkok.
The family’s two-storey garden home was built on a large plot of land set in a coconut grove among a series of khlongs – a network of canals used for drainage and transport. The land had been gifted to Apple’s maternal grandmother by the Thai Royal Family, for whom she had worked. Apple’s mother had subsequently inherited the land. It was in an area dominated by palm trees and very few houses, all of which appeared to be occupied by people engaged in the coconut trade. Mario mistook the house’s water storage tank for a large bathtub and decided to plunge in to cool off, much to the amusement of his neighbours.
After a week in the garden house, Mario sensed rumblings of discontent from Apple’s mother, who believed she needed reimbursing for his cohabitation with her daughter. Remuneration was something he couldn’t pay and had no wish to pay, even if he had been able. He did not like the mother’s apparent greed, particularly as he had been instrumental in getting her daughter back from Germany. So Mario Kleff accepted an offer from Apple’s father to move rent free to a much smaller, adjacent plot of land which had been given to the father by the government for his retirement. Mario had a free hand to do whatever he liked with the land.
The small plot consisted only of palm trees and water, no accommodation. Mario slept in the open on rough ground under the palms in the mosquito-infested khlongs. Apple remained in her mother’s house a few hundred metres away.
“Apple’s father came each evening to visit his daughter and was quite worried about me,” said Mario. “So, after a couple of days, he suggested I could cut the palms and bamboo to use as protection. I knew you could make things out of bamboo, even though I didn’t know how, so I borrowed a machete from my neighbours and began cutting some down. It took me all day and as I cut the bamboo, huge ants came out and ran over my body. Then when Apple’s father came in the evening, he told me that the bamboo was completely unsuitable for building anything. It was too brittle.”
The following day, Apple’s father arrived with a pickup truck containing a consignment of bamboo more suited to the task in hand. Mario cleared three or four palm trees to create sufficient space for the hut he planned to build and continued to sleep under the stars, jumping in a khlong in the morning to bathe, despite the lack of a toothbrush, toothpaste or soap. In the evenings he was usually invited to the home of one of his neighbours to share their food, after which the Thais retired to bed around 8pm.
“After that I would sit on my land alone, no electricity, no mosquito spray, nothing,” said Mario. “Apple had begun helping her aunt sell coconut juice in a local market, leaving me alone all day. I decided to spend my time making a basic bamboo hut as I didn’t even have a mattress to lie on at that time.”
Mario Kleff spent his first two weeks in the coconut grove living this primitive lifestyle, sleeping rough, even in the rain, and occasionally being visited in the evening by Apple’s brothers. They usually brought a bottle of whisky with them while they attempted to communicate with the unconventional foreigner in their midst.
After his first month in Bang Khun Thian, Mario sold his watch to raise some much-needed cash, most of which went to Apple to pay for the food she brought him. It was the last watch he ever owned, and he has never worn one since. He led a life of extreme poverty and one in which self-sufficiency was essential. He started fishing in the khlongs, setting up a number of bamboo sticks with string lines on which he caught eels and catfish. They became his staple diet. Apple used the money Mario got for his watch to buy him a gas bottle with a burner on the top and Mario borrowed a pan from his neighbours so he could cook his daily catch.
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