Singapore Stories: Pathways and Detours in Art

Market of the Tropics

In the 19th century, Singapore was considered a place of opportunity as merchants and labourers had travelled here from across the world seeking their fortunes. Early visual depictions of Singapore in print, painting and photographs emphasised its economic viability and romanticised the island as a place with timeless charm of a sleepy fishing village, offering a glimpse into the many ways Singapore was imagined, experienced and circulated. 

Even Siam (now Thailand), which remained independent, was not immune to the effects of colonisation in the region. Greater cultural contact with the West influenced the kind of art produced in Southeast Asia at this time. Local elites used art to defend their status, which could be threatened by a changing social order.

While many artists and artisans continued to produce the images and objects that they had in the past, others began to make use of new tools, styles, and genres of art from the West, which signalled a conceptual break with tradition. This sense of a break, or change, can be understood as the beginnings of modernity in art.

Community and Self

By the early 20th century, new possibilities for representing the communities and individuals in Singapore were emerging. Local artists combined elements of painting and photography to produce expressive portraits capturing both everyday people and prominent figures.  At the same time, artists from around the world were drawn to Singapore. Many came to teach art and create commissions for public spaces, reflecting the island's varied communities in their work.

In the 1930s, full-length motion picture films became another exciting space where directors, set and graphic designers, actors and musicians could come together to tell stories about the communities. During this period, diverse textual and calligraphic art and design also enriched Singapore's material culture. Together, these multiple perspectives and forms of cultural expression created a multifaceted and vibrant artistic scene here.

Imagining Nation

What does art from Singapore look like?  Once part of the Johor Sultanate, Singapore was included in the Chinese concept of Nanyang (South Seas) along with maritime Southeast Asia. Later, it was incorporated into British Malaya until the 1960s.   The regional connectivity is reflected in how artists portrayed the unique features of its people, landscape and cultures, as well as their own sense of belonging to this place.  As Singapore grappled with questions of identity and self-determination, artists not only expressed their individual visions but also contributed to the search for a national identity that resonated both locally and regionally.

The Liu Kang Gallery commemorates the artist Liu Kang and his role in the development of modern art Singapore. In May 2003, Liu Kang (1911–2004) and his wife Chen Jen Pin (1913–2009) donated over 1,000 works to Singapore’s National Collection, forming the largest donation of an artist’s work ever made to the country. 

Seeking Connections

Even as they called Singapore home, artists frequently travelled to find new sources of inspiration for their work. A desire to connect with regional cultures—which was explored by informal collectives like the Ten Men Art Group—led to a rich combination of forms, subjects, and mediums. 

By the 1960s, artists once again found new ways to express their impressions of Singapore and its place within the region. They began to experiment more boldly, particularly with abstraction, drawing inspiration beyond conventional boundaries of both medium and representation, finding new ways to express their impressions of Singapore and its place within the region.