ALEX FACE (Patcharapon Tangruen) is a Thai artist whose name has become synonymous with street art, along with deep reflections on childhood, innocence and societal change. Alex’s journey began on the streets of Bangkok, where he used abandoned buildings as his canvas. For two decades, his graffiti art challenged the urban spaces of cities across Southeast Asia and beyond. His works exude rawness and playfulness, while conveying contemporary themes that reflect the fragility of childhood and the unpredictable nature of the world.

The regional impact he made has been significant; his work can be found on the streets of Bangkok, Jakarta, Penang, Taiwan and even Los Angeles, Chicago and New York—not only as graffiti, but also within gallery spaces. The transition from street to gallery was a natural progression for Alex, whose distinct visual language, often seen in his larger-than-life murals, also translated into more intimate, thought-provoking works for exhibitions. His ability to engage with both public and private spaces allowed him to maintain an authentic connection with diverse audiences.

Alex’s latest exhibition, Faded Landscapes, running from 15 March to 18 May 2025 at Cultprint, marks a new and deeply personal chapter in his creative evolution. The exhibition is a direct result of Alex’s 1,200km cycling journey from Bangkok to Penang, a voyage of a lifetime that redefined not only his artistic practice, but also his understanding of life and time. As Alex explains, this experience was more than just a physical challenge, it was an opportunity to reconnect with nature, revisit his roots, and engage with his work in a way that was raw and spontaneous. “Each stop was a new chapter,” he shares, “I’d set up my portable canvas, and wherever I was, whatever I was feeling, that moment would be captured on the spot.”

Throughout his journey, Alex endured the blistering equatorial heat, physical exhaustion and hidden dangers on the road, but he embraced these challenges as integral parts of the creative process. “I’ve always wanted to do this,” he explains. “The opportunity came when Ernest [Zacharevic] asked me if I wanted to do a show in Penang.”

As he cycled through rural towns, bustling cities and quiet villages, Alex was confronted with the fleeting nature of time and the fast-changing environments. With each painting he created along the way, he was capturing fleeting moments, deeply aware of how transitory life itself is. “Sometimes I felt like I was racing against time, as if everything around me was fading,” he reflects. “But that’s also what made it so meaningful. These moments—just like the landscapes—are gone so quickly, and that’s the beauty of it.”

Alex and his cycling companion aimed to cover 100km every day. His first artwork was of his Phutthamonthon home in Bangkok. Along the way, he also captured Hua Hin, Chumphon and Songkhla, among others. In Malaysia, he stopped at a rice field in Alor Setar, went up Gunung Jerai and finally, painted the sun setting behind the island of Penang from Butterworth.

Face's Iconic Character

One of the most striking aspects of Alex Face’s artistic oeuvre is his deep connection to the iconic character (a three-eyed, bunny-eared figure) whom he called Mardi, that first emerged as a reflection of his fatherhood. However, over time, it has become a symbol of the innocence and vulnerability of children, infused with the complex and often harsh realities they face as they grow up. “I don’t have a name for it now, my daughter wants her name back,” he chuckles.

“When I first saw my daughter, she looked at me with an expression that made me wonder—how do we experience the world as children? What do we carry with us, and what gets lost along the way?” For Alex, the third eye, drawn from Thai spiritual beliefs, symbolises a deeper awareness, an ability to perceive the world with clarity and sensitivity. This introspective understanding is something he hopes to impart through his work, to encourage us to reflect on our own experiences and perceptions.

When asked about what this character might want to convey to the people of Penang, Alex shares his belief in the importance of accepting difference. His character’s eyes, which are often depicted in blue and red, carry dual meanings depending on the cultural context. As Alex explains, “Some cultures see these eyes, especially the third, as evil.” However, he also notes that in other places, the eyes are seen as symbols of wisdom and enlightenment. This dichotomy, Alex believes, is representative of how difference is perceived across the world—sometimes feared, sometimes celebrated. His message is clear: “We are different. I believe we’re the same, and at the same time, we need to accept that we are different—and we can live together.”

This notion of “accepting difference” and finding common ground runs through much of Alex’s work, playing a pivotal role in his exploration of identity, society and humanity, alongside the social and political contexts that inform his creations. His character—with its eyes—serves as a powerful representation of how we, despite apparent differences, share the same fundamental experiences and emotions, and the potential for connection.

Faded Landscapes is more than just a collection of Impressionist-like paintings; it is a visual diary of a journey, a series of intimate encounters with a world that will never be the same again. Each application on the canvas represents a moment, a place and a feeling; a moment that, in its transience, is beautiful in its own right.

By painting along his journey, at rest stops, on roadsides, in the heart of cities, Alex has captured the present as it was. “Life is fleeting, and sometimes we don’t realise how quickly things pass us by. But when we’re present, truly present, we can create something meaningful,” he reflects.