“The Bangkok Tragedy” refers to the government-backed massacre of members of the red shirt movement, when a military crackdown on protesters from May 10 to May 19, 2010, resulted in at least 94 deaths.
An unlikely movement has taken root in the heart of Khon Kaen: street art. Here, a group of recent college graduates and former skateboarders are taking the city by surprise with the controversial artwork they are painting across the walls of city buildings. They call themselves Dude Factory.
Street art has yet to make waves in Isaan but this group of artists has made it their goal to bring the movement to the region. Recently, the Isaan Record sat down with Floyd, Baby83, and Wink – three artists from the group (all of whom preferred to be identified by their tag) – to hear more about their work and their experience painting in the city and on the outskirts.
See their work and read what they have to say below.
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Isaan Record: So, why street art?
Baby83: Floyd, Wink and I used to do extreme sports together – BMX-ing, skateboarding. We got to know each other through these activities and in the context of street culture. [And over time] I got to know the culture better, too. I started learning more and I discovered that modern street art is a branch of this culture. It’s a performance, and one that can be presented to people easily. You know, if we work on art inside a frame, we’re just working at home – people will only see our work when we display it in an exhibition. But for street art, they can see our work while we are in the process of doing it, and they’ll ask questions while we work. That’s what it means to be fresh. It’s a lot of fun.
Wink: After I graduated from [the faculty of arts at KKU], I started to see that there are other kinds of work out there like street art. Once I was out of college, I realized that there’s this large gap between art and people. I thought I should do something to bring art closer to people because our city, Khon Kaen, doesn’t have much in the way of [contemporary art] movements. I chose to present this kind [of art] as my way of expression. I came to that conclusion two years ago.
Floyd: I had seen [street art] when I was young and became interested in it, but I didn’t know how I could get involved. I started getting into BMX-ing and I was studying art at the university. After I graduated — well, it’s the same as Wink said. The art of this society is really dull, it’s also dated. There are only old people doing it. For teenagers, especially the alternative ones, it’s so old-fashioned. So we all started talking to each other about how we could make a strong impact [on people] and how we could make them confused. We decided street art was the best option. We like it. And we think that the finished product is cool, too.
Baby83: Let’s suppose that drawing on paper is like listening to music on a CD. What I mean is that working inside of a frame is a lot like listening to a CD. But the process of going out and doing street art, well, that’s like playing a concert. It’s live. Whatever we say, however we play at a concert – it’s far more powerful than when it’s on a CD.
IR: How do people react to your work in the city?
Baby83: We always ask for permission and we even show people sketches beforehand. The reason we do this is because [Thailand] is different from Europe or America. There, [artists] don’t need to ask permission because people aren’t afraid of art, it’s not talked about as if it’s scary. But here we have to ask for permission because people are afraid even though it’s just art. Ultimately, it means people can have trouble appreciating it.
Wink: Once I was painting a head on a Chinese house – one half of the face was a skull and the other half was pretty. But once it was done I had to erase it. Chinese people really hate skulls. In China, punk culture is not something that people accept, partly because of [the symbol of] the skull. So I had to take it down and paint the whole wall over again. I understand that this is a part of their culture but sometimes I can’t control myself. [Laughs] But I also know I have another responsibility – I respect the owners of the buildings so I had to make the piece softer and less frightening. I still maintained my concept, though. Since we’re sharing the space with the public, this is something you just have to accept. So I’ll only make art [that’s controversial] to a certain point. That’s what I believe is right. And I’ve learned on my own that in this situation, if the art is too frightening, society might not accept it. So, that’s our answer.
Floyd: Just to be clear – sometimes we don’t ask for permission. We just sneak around and do it because it’s exciting that way. It’s also more exciting for people who don’t know what they’re about to see around the corner…. Really, impact is our main policy in street art. Like in Banksy’s work – he got his work into a museum and made people really confused. It made people start asking questions.
IR: We see that you also make street art out in the villages. How do people there receive it?
Floyd: For me, painting in the village is better than painting in the city. It’s innocent. Villagers don’t have any silly questions, like “Who hired you to paint?”. But they’re glad that the work is beautiful and they invite me to paint often. But if I’m in the city, people have a lot of questions and I have to give them reasons. “Why do you do this?” “Do you get any money?” “Did you have to ask the municipality for permission?”
Baby83: We used to work at a school in Kaina village. Kids like this kind of work – they never really knew that painting on walls was a field of art. They always thought that artwork was just a drawing on a piece of paper that they needed to hand in to their teacher.
Floyd: Villagers look at our work with their feelings – they’re not asking for lots of reasons. This is the right approach. They still see beauty, even though they many not quite understand it.
IR: Why do you think city people might be afraid of contemporary art?
Baby83: There are restrictions on how much we can learn about other cultures. [Cultural movements] come here late. When I was studying at the university, my faculty didn’t even have a library. And that was in 2000.
Floyd: In the past, there weren’t any bookstores in Khon Kaen. The books in the library were too old and there wasn’t a movement to bring new books to the library. When we got a bookstore in Khon Kaen, it was like the whole world opened up in front of us. Still, lots of students studying at university today learn from really old books so their work is old-fashioned.
Wink: In my opinion, some people fear the work itself, and other people fear what will happen because of the work. There are two kinds of fear.
IR: How does your work contribute to the identity of Isaan?
Floyd: Khon Kaen doesn’t have an identity. We pick up stuff from other places to use here. Like in Chiang Mai, of course, there’s so much art, and it’s easy to get into it. But in Khon Kaen, things are superficial, unprofound – it’s all business. I sure as hell don’t want to sell stuff. They can bring their business, but they’re not bringing any real culture. We still haven’t proven anything about Khon Kaen to outsiders yet. What does Khon Kaen have to offer?
Baby83: In some ways, we are trying to create [an identity]. We’re starting small, but that’s good.