Rebellion on the Walls by Shepard Fairey

Ellen Boonstra03/16/2025≫ アート

Shepard Fairey

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Bringing his signature street art and activism to Bangkok, Shepard Fairey unveils ‘Golden Compass,’ a powerful exhibition that blends iconic visuals and political commentary

Shepard Fairey has always been an artist on a mission. From his early days plastering “Obey Giant” stickers on city streets to creating the now-iconic Barack Obama “Hope” poster, his work has consistently blurred the lines between street art, political activism, and graphic design. This month, Fairey brought his signature style to Bangkok for his first-ever exhibition in Thailand, offering local audiences a glimpse into his bold, visually striking world.

The exhibition, ‘Golden Compass’, opened at Over The Influence art gallery in Bangkok’s Chinatown. Featuring a dynamic mix of mixed-media collage, graphic elements, and typography, the works invite viewers to connect with the compassionate core of humanity. The show explores the human struggle for balance amidst injustice, rage, and grief, offering a profound reflection on the transformative power of art.

On the opening day of his exhibition, we had the chance to sit down with Fairey to discuss his impressions of the city, his creative inspirations, and the role of art in shaping cultural narratives. His exploration of Bangkok had already begun, offering him a deeper connection to the city's artistic and historical fabric. Fairey and his wife arrived eager to explore, with one of their first stops being the Jim Thompson House, a museum dedicated to the American silk entrepreneur who helped bring Thai silk to the world stage.

Mixed media artwork ‘Peter Tosh: Legalize It’ (2024)

Mixed media artwork ‘Muhammad Ali: Heavyweight Ideals’ (2017)

Beyond the tourist landmarks, Fairey found himself drawn to the city’s dynamic blend of old and new. “I love the mix of older and newer, clean and distressed,” he says. “Bangkok has this amazing contrast—intricate decorative motifs, bold typography, and a real pulse to the streets.”

Despite the heat, he spent much of his time walking, photographing, and absorbing the textures of the city. “There’s a lot of older signage done with spray paint stencils that remind me of the street art tools I use, but here it’s more utilitarian. Then you have this fusion of Western graffiti, stickers, and posters with a distinctly Thai touch. It’s really unique.”

As a street artist, Fairey is naturally drawn to graffiti and urban art wherever he travels. He is especially captivated by the local graffiti culture in Bangkok. “I’ve come across tags with a style I’ve never encountered before—clearly influenced by Thai calligraphy. That’s what makes graffiti so powerful: it’s both universal and deeply rooted in its local context.”

Street art, for Fairey, has always been about more than just aesthetics. It’s a way of challenging authority, making statements, and claiming public space. His early “Obey Giant” campaign—featuring an image of wrestler André the Giant—was a form of guerrilla propaganda, prompting viewers to question advertising and authority. His later works, including large-scale murals and politically charged posters, carry the same spirit of resistance and awareness.

Graphic patterns blend propaganda-style visuals with intricate layers of street art influence.

Patterns are a recurring motif in Fairey’s work, drawing inspiration from global art traditions. Bangkok, with its rich decorative heritage, has already provided fresh material. “I’ve been taking photos of patterns everywhere,” he says. “Whether it’s Thai architecture, textiles, or temple designs, these elements might find their way into my work in unexpected ways.”

But Fairey’s approach isn’t about strict cultural representation. “I blend styles,” he explains. “A pattern I find here might end up in a piece about oil regulations in the U.S. I want my work to have a global perspective because the issues we face—climate change, social justice, corporate influence—are interconnected.”

The exhibition features 112 works, spanning screen prints, mixed media, and unique pieces. Most of them were created in the past year and a half, a testament to his relentless work ethic. “I’m just constantly working,” he says. “Almost all the unique pieces are from 2024 and 2025.”

Some works are entirely original, while others are variations on past designs, each with its own distinct twist. “I create hand-painted multiples—same dominant image but different executions, which is what Warhol did. But then I also have one-of-a-kind pieces, like retired stencils from spray paintings.”

The exhibition features a diverse collection of original mixed-media paintings alongside a selection of retired stencils and screen prints on wood and metal, all set against intricately collaged backgrounds.

For Fairey, the show is more than just a retrospective—it’s an evolving conversation about power, resistance, and hope. “Art has the power to amplify messages, to challenge the status quo,” he says. “I don’t just want people to admire my work; I want them to think about what it represents.”

Beyond the walls of the exhibition, Bangkok itself has left a strong impression on Fairey. He marvels at the lush greenery, the chaotic tangle of electrical wires, and the way nature and human structures intertwine. “It’s this beautiful, sometimes messy balance between man and nature,” he observes. “It’s unintentional, but it has its own aesthetic.”

And does Bangkok’s energy inspire future work? “Definitely,” he says without hesitation. “The patterns, the textures, the street culture—I’ve already captured things that might find their way into my art.”

Fairey’s time in Bangkok may be brief, but his presence leaves a lasting impact, much like the stencils, murals, and posters he has left on city walls across the globe. As he continues his journey, one thing is certain: whether on the streets or in galleries, his art will keep challenging, inspiring, and speaking truth to power.

‘Golden Compass’ runs until April 27, 2025, at Over The Influence art gallery in Bangkok.