In April 2026, The Standard, Singapore took its bold energy to the streets with Flip The Standard — a city-wide campaign that turned everyday corners into unexpected moments of art. In collaboration with Marcus Ian Pang, a 23-year-old Singaporean reverse graffiti artist, three artworks were power-washed onto pavements across Singapore using only water — no paint, no chemicals — designed to exist fleetingly before fading back into the city.
Designed as ambigrams that read "Flip The Standard" one way and "The Standard Flip" the other, each installation invited a shift in perspective. The artworks appeared at New Bahru, Shenton Way, and at The Standard, Singapore itself.
We sat down with Marcus to talk about his process, the collaboration, and what it means to make art that isn’t meant to last.
The Standard's logo is upside down on purpose. When you first heard the concept for Flip The Standard, what was your reaction?
When I first saw the concept art, my immediate reaction was "Genius!" Because one of the limitations of power washing art is that words are orientation specific, meaning you would have to walk in a certain direction to correctly interact with the art — read the message without looking backwards. However, the design is genius such that no matter which direction you walk, you will be able to read the message "Flip The Standard." The doodles are also strategically placed such that you may need to walk the opposite direction to fully view everything in detail.
What surprised you most about working with a hotel on a street-level art activation?
What surprised me most about working with The Standard Hotel was that they were bold and intentional in their actions. Many of my prospects who approached me were still hesitant on the legality or impact of power washing art. But The Standard does things unconventionally and they were willing to do something different from their competitors. They were also intentional with their designs — each of the doodles across the three artworks represents a different element of their hotel. Across all the commissions I have done thus far, I don't think I have worked with a client who was this deliberate in the choice of design and locations. That was what surprised me the most.
Your work is completely freehand — no stencils. What does that give you that a stencil can't?
It gives me a lot more creativity and basically no limits on what I can create. Overseas, most companies doing reverse graffiti use stencils to reproduce a message or image, which means you're constrained by what a stencil can do — the detail, the scale. Because I work freehand, I can tackle more complex and much bigger art pieces without those restrictions.
It gives me a lot more creativity and basically no limits on what I can create. Overseas, most companies doing reverse graffiti use stencils to reproduce a message or image, which means you're constrained by what a stencil can do — the detail, the scale. Because I work freehand, I can tackle more complex and much bigger art pieces without those restrictions.
Your art disappears over time — rain, foot traffic, the city just takes it back. Does that change how you think about the work?
It's part of what makes it interesting. There's no paint, no chemicals — just water and pressure. The art exists because of the contrast between what's clean and what's dirty, and eventually the city resets itself. I think that's what draws people to it. It's not permanent, and it doesn't try to be.
What's one thing you want people to take away when they stumble across your work on the street?
I just want to make Singapore a little bit more fun. Most people who see my work for the first time don't even know this art form exists — they walk past and wonder why someone was power washing a picture into the pavement. That reaction is everything.
I just want to make Singapore a little bit more fun. Most people who see my work for the first time don't even know this art form exists — they walk past and wonder why someone was power washing a picture into the pavement. That reaction is everything.
For anyone who's never seen reverse graffiti before — how would you describe what you do to someone who just watched you power wash a pavement and walked away confused?
I would describe this form of reverse graffiti as using a power washer to clean off very specific parts of a dirty concrete walkway to create an image with the dirty-clean contrast. Typically, other companies would use a stencil to reverse graffiti an image or message but I use freehand for all of my work. Hence, I am not limited to the detail constraints of stencils and can tackle more complex and bigger art pieces.
I would describe this form of reverse graffiti as using a power washer to clean off very specific parts of a dirty concrete walkway to create an image with the dirty-clean contrast. Typically, other companies would use a stencil to reverse graffiti an image or message but I use freehand for all of my work. Hence, I am not limited to the detail constraints of stencils and can tackle more complex and bigger art pieces.
