Hit the road with Poorboy, Ton’s furry sidekick

‘When I thought about doing this exhibition, it came from my personal love for travel. It’s something I’ve always felt connected to. I wanted to explore this theme because I believe travelling opens us up to new experiences. There are still so many places I haven’t been, and each trip often sparks new ideas or inspires me in some way. That feeling comes up every time I travel. So I wanted to reflect that in the work and see what it would look like if Poorboy went on trips with friends.’

‘There are 15 paintings in the exhibition, each set in a different location. Every piece features a unique car model that fits the scene, such as mountains, beaches, and other places I’ve visited. Each one captures a moment from the journey, whether it’s stopping at a gas station or taking a break for a meal. It’s about those small, in-between moments that unfold along the road.’

‘I chose to paint these particular destinations because they hold personal meaning to me. For example, the key visual is set in Iceland. The atmosphere there is very open and empty, with just a road and a car. There's a character, Poorboy, skateboarding while his friends are driving. This scene is inspired by my past experiences, especially when I used to downhill skate with friends during trips to different provinces. I wanted to capture that feeling, blending it with the locations I’ve always wanted to visit’

‘Additionally, it’s a location from The Secret Life of Walter Mitty, a film that really resonated with me. So, when people see this scene, they’ll immediately recognise it from the movie, which adds another layer of connection for the viewers.’

‘I think it would be the southern beaches of Thailand for his road trip because I personally love them. The beaches in places like Phang Nga, Krabi and Phuket are absolutely beautiful. I’m also keen on trying surfing since I’ve already experienced skateboarding and snowboarding. Surfing is the next challenge I’d like to take on.’

‘I think it’s fun. Over time, the number of artists has increased, both new faces and familiar ones. When you go around the city, you get to see works from people you know or even from those you don’t know and it’s really enjoyable. However, I do wish there were more spaces for it.’

‘I don't think there are any restrictions on what’s considered good or bad work. If it’s something that resonates with you or if you like it or have fun with it, then I think it’s okay. Honestly, I’m not really a street artist in that sense – I’ve just done it a bit here and there. Nowadays, there are definitely more opportunities than before, with better tools and easier access to things like videos and various sources of inspiration. It has made more people get into it and I think that’s great.’

‘I think it would be great to have both types of spaces. One could be outdoor and easily accessible to the public. For example, creating a public park, like they do in the U.S., where they revitalise run-down areas and turn them into inviting parks that everyone can visit. Anyone could create art there, much like the area around Hua Chang Bridge. That would be fantastic.’

‘The other option could be a semi-museum, specifically for street art. It would allow people to visit and learn more about the art, especially Thai art. It could be rotated regularly with new artists showcasing their work. There are places like this in Amsterdam that could serve as inspiration for Bangkok.’

‘I think one of the challenges they face is being kicked out or told to stop. However, I believe artists should always make sure to ask for permission or do things the right way. There are two paths in this field: street artists and graffiti writers. Graffiti writers often enjoy the thrill of doing something live and spontaneous, while street artists usually seek permission for the location because their work often takes more time to complete.’

‘Spray paint.’

‘In Thailand, it's probably not like abroad, where children are taught from a young age about the stories behind street art. This lack of education might make people less connected to this form of expression compared to those overseas. As a result, they may view it as just random shapes or something that looks dirty or out of place. If, in the future, we had more museums dedicated to street art or a greater emphasis on teaching art in schools, I believe people would better understand and appreciate it. Additionally, if the government could help by providing proper spaces for it, people would be more likely to embrace it.’