

29dec25


29dec25



Artist: Otto Schade
December 2025

And then I turn a corner and the city hands me a scene like it’s been saving it just for me.
A wall shouting “BASUKA!” in yellow and pink—the kind of graffiti that isn’t asking permission and isn’t apologizing either.
And right in front of it: a row of guitars. Not behind glass. Not staged for tourists. Just…there.
Then there’s the man.
Straw hat. Light shirt. That posture I’ve seen a thousand times in a thousand countries—the posture of someone who has spent years in public space without needing to announce himself. He’s not performing. He’s just there, present, grounded, watching the street like he knows exactly what the street is capable of giving me. We stayed and talked to him for quite a while and he’s a gentle soul proud of the two squirrels looming in the trees above, that he takes care of…
The whole thing felt like Bangkok doing what Bangkok does best: improvising a composition.
Graffiti isn’t just decoration here—it’s a declaration. And the guitars aren’t props. Even if nobody plays a note, they still change the air. They suggest music the way a closed book suggests an entire world. It’s the promise of sound in a place already packed with noise.
We stood there longer than we meant to.
Because this is why I wander. Not for landmarks. Not for “top ten.” Not for the clean narrative of travel writing where every moment is curated and meaningful on cue. I wander for these accidental collisions—the art and the human and the clutter and the color and the little ache of realizing the world is always doing something interesting, even when you’re not looking.
Bangkok is a city that doesn’t pose for you. It doesn’t slow down to become your backdrop. But once in a while, it gives you a frame anyway:
A wall that wants to sing.
A few tired guitars waiting for the right hands.
A man in a hat, calm as an old song.
And me—passing through, grateful, trying to capture it before the city rearranges itself again.
Because it will. It always does.

24dec25




24dec25











24dec25

In August 2018, Meeting of Styles Thailand happened here (4–5 Aug). Thai media and event coverage describe it as a big graffiti gathering that helped transform the park into a recognized hangout/landmark—basically Bangkok saying, okay, we see you.
That matters, because festivals like this don’t just “decorate.” They validate. They make a space harder to erase.
Why it matters (beyond “cool photos”)
1) It’s a rare public compromise.
Bangkok has murals all over, but graffiti is a different beast—more raw, more layered, more conversational. Chaloemla is one of those places where veterans and newbies share the same walls, and the city sort of… lets it happen.

2) It’s a visual diary of the neighborhood.
This isn’t museum art behind glass. It’s art next to daily life—heat, traffic, school kids, office workers cutting through, people sitting for a minute because Bangkok is exhausting and a bench is a small miracle.

3) It changes. Constantly.
If you go back in a week, something will be different. That’s the point. It’s not a “finished” gallery. It’s a living draft.

How to find it:
The easiest way: take BTS to Ratchathewi, then walk toward Hua Chang Bridge—the park is right at the foot of it.
It’s also close to Saphan Hua Chang Pier if you’re moving by canal.







24dec25

8jan26

Bangkok’s street art scene isn’t a single “district.” It’s a scavenger hunt. And Alex Face is one of the artists who helped make that hunt feel like a real cultural map, not just random paint.
You’ll see Mardi mentioned in street-art guides as a key marker of the city, with sightings around areas like Charoen Krung / Bang Rak and near Siam/Ratchathewi.

I think that’s why Alex Face works in Bangkok so well. This city is intense—loud, beautiful, exhausting, funny, harsh, generous, all at once.
Mardi is the pause inside all that. A tiny, sad-eyed reminder that under the neon and the traffic and the hustle, there’s still something human trying to stay human.


24dec25



24dec25


24dec25