Stories of Art in 90 Seconds

For volunteer docent Basabi, the 1865 print of Heinrich Leutemann’s Interrupted Road Surveying in Singapore raises important issues of ecology and conservation today.

Gallery volunteer Leister shares how Tan Swie Hian’s use of colour in his Chinese ink painting, Night Kites, evokes mindfulness and spirituality.

At a glance, Raden Saleh’s Forest Fire is full of trauma. But Gallery volunteer Eric reminds us that there can be hope and resilience even in the most desperate of situations, as seen in Saleh’s animals.

Docent Linda grew up in America under the threat of a nuclear crisis. Here, she shares how she finds optimism in Hernando R. Ocampo’s Dancing Mutants, created at the height of the Cold War, and its relevance in a time of the COVID-19 pandemic.

Gallery host Joseph introduces one of his favourite artworks, the hauntingly beautiful Nowhere, by Jane Lee. Even as its mirrored tiles draw in the daytime visitor with their mesmerising and romantic reflections, the contorted images encountered at night have quite the opposite effect.

Curatorial Programmes team member Gillian is often drawn to Liu Kang’s works, which remind her of her grandfather. In particular, his preparatory sketch for Souri, more than the finished work, brings her a sense of familiarity and comfort.

As Artwork Manager, Hafiz walks the Gallery after hours. Why does he urge visitors to view Fua Haribhitak’s Face in the lonely quiet of night? To share the chills, of course.

Reflecting on the violent Sook Ching massacre captured in Koeh Sia Yong’s Persecution, Gallery Programmer Maria surfaces the racial discrimination that is part of the everyday terror some people still experience.

Let kampong boy and Gallery Ambassador Jimmy take you back to his childhood, as he reminisces over Liu Kang’s 1975 painting, Life by the River.

Chua Mia Tee’s Workers in a Canteen comes to life as Gallery host Heng Keng Lim describes his time working in the shipyards – in particular, the lunch break he shared with his co-workers.

Safety Manager Alia offers an exclusive peek into her role at the Gallery, and explains how she relates the work to Anthony Poon’s Black and White abstract.

In the rigorous process of rice harvesting depicted in Sudjana Kerton’s Kehidupan di Kampung (Village Life), Malyanah from Collections Development sees a parallel to her team’s efforts.

Kolektif volunteer Indu presents a contemporary reading of Teo Eng Seng’s installation, The Net (Most Definitely Singapore River).

J. Elizalde Navarro’s Untitled is a peculiar presence in the Gallery, composed of random shapes, almost haphazardly pieced together. However, Kolektif volunteer Jin Ming sees in the sculpture hope and inspiration, which reflects the fiery passion of his generation to challenge the status quo.

The 1955 Hock Lee Bus riots are a dark part of our history that is etched in the memories of older generations of Singaporeans. Kolektif volunteer, Shevon sees a parallel between the workers’ fierce determination presented in Tan Tee Chie’s On Strike and her unabating passion for social justice.

Gen Zs and millennials are (infamously) known for their dependence on social media. But what if there is a deeper meaning and significance behind this dependence? Kolektif volunteer Naazym embarks on a candid analysis of Manit Sriwanichpoom’s Shocking Pink Collection.

Gallery volunteer Geraldine shares an intimate and loving reflection on Chua Mia Tee’s Portrait of Lee Boon Ngan. She sees her own young love reflected in the artist’s brushstrokes.

Koeh Sia Yong’s Cannot Grow Vegetables Anymore calls up bittersweet memories for docent Hwee Suan. Her grandmother directly experienced the impact of Singapore’s urban development – she was forced to uproot her family and the fields she had nurtured over decades.

Ed from our Partnership Development team tells us not to be fooled by Tang Da Wu’s performance piece, Don’t Give Money to the Arts. There’s more to it than meets the eye!

Volunteer Manager Jessica loves the collaborative effort behind Seascape, an intricate woodblock print created by six different artists. It reflects the esprit de corps among the Best Friends of the Gallery, volunteers who make the Gallery a welcoming and inclusive space.

Jane, Senior Assistant Director of Creative Services at the Singapore Association for Mental Health (SAMH), strongly believes in art for well-being. She describes how SAMH’s work in community building and art programming is not unlike Choy Weng Yang’s Horizontals I.

Just like the ship in Raden Saleh’s Ship in Distress, Meghann once felt herself helpless in the eye of a storm. She tells of her voyage of escape, hope, and healing, through art therapy with the Singapore Association for Mental Health.

Pacita Abad’s Evil Eye resonates with Sabrina, an art therapy client. Despite the title, it is a source of solace. It recalls her own tumultuous mental health journey; at the same time, its bright colours bring hope and the belief that recovery is indeed possible.

For Ezekiel, an intern with the Singapore Association for Mental Health, Chong Fah Cheong’s reworked sculpture Family and One symbolises the support he has received from his family and a friend. His story is about finding balance and community in the pursuit of mental wellness.

Ahmad Sadali’s Skyline of New York inspires Basyirah in her day-to-day work at the Keppel Centre for Art Education. For the Learning Team member, helping to turn artists’ concepts into reality is akin to bringing a city to life, and brings a great sense of satisfaction.

It’s no surprise that Tan Ping Chiang’s Music resonates with Audio Visual and Lighting team member Javier. After all, working with live music at the Gallery is what he enjoys most. Javier lets on that through his work at the Gallery, he has learnt to connect with visual arts, too.

The warm and ever-smiling Suhaili enjoys welcoming guests to the Gallery’s corporate office. The administrator wants them to feel as comfortable as she does when visiting the Sudjana Kerton painting, Gamelan Orchestra, in its exhibition space.

The first time Jasmine, in the Finance team, saw Eng Tow’s Eclipse, she was mesmerised. She explains why she relates her work so well to this textile piece.

What makes a place a home? Is it our physical belongings? Or is it some sort of intangible spiritual essence? Inspired by Diah Yulianti’s beautiful Hunian, Natalie talks to Eu Gene about what home looks like to her.

Chia Yu Chian’s untitled painting of a village scene fills volunteer Eu Gene with nostalgia for the small Malaysian town where he grew up. He once bemoaned the lack of community spirit in urban Singapore, but has since found this dearly missed camaraderie right here at the Gallery.

As someone who is of mixed ethnicities, Trish sees herself represented in Jose Tence Ruiz’s Ang Patuloy na Pagkabihag in Kikong Baterya. She may have had many questions about her identity while growing up in Singapore, but sees the beauty of being able to identify with many different cultures.

Youth volunteer Moe Yin compares her own Burmese registration card with National Registration Card, M.P.P. Yei Myint’s artistic interpretation. Growing up Burmese in Singapore, she feels torn between two worlds.

Yanni's fascination with batik draws her to the Studio portrait of peranakan family, Woman in Sarong Kebaya and Children and Man in Western Dress, by Lie Yauw Ming. She shares insights into how clothing came to be a representation of social status and identity in olden-day Indonesia.

Aspiring photographer Ritchelle talks about her admiration for the concept and story behind Stephanie Syjuco’s Block out the Sun. This moving artwork evokes memories of the treatment her ancestors faced after the Filipino-American war.

Angki Purbandono’s Beyond Versace is a series of captivating photographs featuring individuals who are often overlooked by society. These photographs remind Gini of her encounters with similar folks in the past, and speak to her passion for fashion.

Chan Myae reflects on the emotional impact of Nyein Chan Su’s Portrait in Black, which reminds her of her grandmother's beauty and the struggles for freedom in Myanmar.