MadeinSG: The artists and creatives of Singapore

COVID had affected everyone, but a particular group had been hit hard, and that's the creative industry here. If I want to see the local creative and arts scene flourish here, I have to do something about it. So I decided that perhaps, I could use my portrait skills to help some of my fellow artists and creative people here. I hope that when you buy the works of art from your local artists and businesses, don't forget about all the hard work they've put into it. Doing this had made me a lot happier, and its something I really enjoyed. It had allowed me to meet all sorts of talented and creative individuals that we have to offer and I hope, through this series, you can appreciate their amazing work, and the people behind it. Special thanks to my brother and Gabriela Adams for helping me out with the copywriting and formatting.

You can read more about the project here:
https://sg.style.yahoo.com/photographer-in-singapore-launches-project-to-showcase-local-artists-and-creatives-in-their-own-unique-light-amidst-pandemic-054638170.html

CHIEN PING, STUDENT

I am someone who likes to explore the unknown and do things that may not be considered ’the norm.’
I am uniquely blessed with accounting and design strengths. For example, I work very systematically for a design student.

I was unable to access the woodworking workshop to fabricate my wood projects. Circuit Breaker going into effect emptied my options for projects to undertake.

Aside from woodworking, I have turned towards 3D printing and CADing as a gig. I provide printing and CADing services for people to print things that they want. We draw an image of their vision and together we create a product.

3D printing is a solution to my lack of access to familiar raw wood materials. CAD is an essential software in product design. It helps us to draw out a variety of products, including furniture.

I learned the importance of adaptation from this crisis. I have created two pairs of traditional wooden clogs during Circuit Breaker with traditional woodworking tools at my home. However, I do not see this as a form of adaptation, as I think true adaptation is to be able to create a woodworking system (with modularity) that not only allows me to work from home but anywhere and anytime I want. On a technical level, this eliminates the reliance on tools today that are essential, such as electric machinery, significant room for work, and other specialized resources.

This has challenged me to think of how I can design a system that allows me to continue woodworking using “woodworking in times of crisis” as a perspective. This is a perspective which I will be keen to further explore and realise.

I feel that our country is still immersed in the mindset that art and creative works are of no real value. As a nation that focuses on the finance sector, the art and creative sector are deemed to have “no future” as they are not seen as a way to achieve a stable income in the eyes of many.

Honestly, I believe that the best way to help people understand the issues that creatives and artists face is time itself, with the younger generations being more tech-savvy and being more exposed to the mainstream media, they are able to see the value of art and creative works. Such examples include the graphic layout of e-posters, e-commerce and even video advertisements. Future generations of Singaporeans will be more willing to appreciate the arts and creative fields.

As someone who works in the woodworking industry, I feel that there are multiple ways the government can promote our local woodworking industry. They could provide subsidies to conduct woodworking courses or even waiving off the expenses to aid our local woodworkers. There are creative solutions that can be mutually beneficial to the government and to its citizen artists. On one hand, the government can help to expose Singaporeans to local woodworking scenes, and on the other hand, they can promote and support local businesses. This will help to build our own economic value of our creative industry.
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Chien Ping is currently a local student at NTU’s School of Design. Originally an accountancy graduate, he decided to pick up design after having been exposed to elective modules that touched on design thinking, prototyping, and development. These modules sparked his interest in design work, leading him to take up woodworking as part of his bachelor study at NTU’s School of Art, Design and Media, Bachelor of Fine Arts.

His works are available for viewing at:

https://www.instagram.com/incognito.craftsman_/?hl=en

KAMINI RAMACHANDRAN, ORAL STORYTELLER, MOONSHADOW STORIES

Trust the dreams, for in them is hidden the gate to eternity - Kahlil Gibran

It was not a conscious decision to categorise what I do as 'art' or 'not art'. I was brought up surrounded by books and a strong cultural background. I am also incredibly drawn to the power of the imagination and have always been fascinated by oral stories. In pursuit of my passion for reading and words, I studied English Language & Literature. I pursued what I liked, and what I wanted to do was work with words. As such, I don't see myself doing anything 'different' or 'out of the ordinary'.

Earlier on in my practice as a storyteller, I was challenged with the limited awareness of the rich Asian oral tradition - most people in Singapore were predominantly familiar with Western content and other mediums read aloud, not told. Paying for creative or artistic talent was not embedded in the psyche of organisations or individuals. I remembered having to set down minimum rates based on time duration and slowly educating clients that stories don't just magically fall out of the sky, perfectly arranged, and ready to be told in an engaging way!

I have a lot of experience working and performing globally, for festivals and conferences. International audiences seem to be more clued-in to the oral tradition; they have a greater awareness of archetypes and tales from different cultures. There is a curiosity to find out more - audiences will come and ask me questions about my heritage and my experiences.

Like everyone else in the creative industry, I am also patiently waiting for the elusive 'Phase 3' to manifest itself. My usual performing venues are all either closed or not proceeding with public engagement programming that involves physical audience members.
Cancellation of large projects and postponement of commissioned projects have taught me to be a stronger negotiator. I am now more critical with the terms of agreements because it is important that I am able to pay my fellow collaborators and team. As such, client agreements should consider staggered payments and cancellation clauses. You'd be surprised how many established institutions find it acceptable to make payment four months after we have provided our services.

The flipside of COVID-19 is the sudden determination to move into the digital sphere. This hasn't been problematic for me, as it does not significantly alter the form of my art. I have been able to create work for my fellow artists and team by embracing storytelling videos in the interim. It allows us to still stay connected to our audiences, bring in new viewers and keep us very much involved in our practice. Of course, the digital realm is not meant to be a replacement for the intimacy and subtleties of a physical event; it is perhaps a temporary portal that we can choose to embrace.

The current situation's impact is not restricted only to our jeopardized careers or practices...there is an immense impact on families, societies, communities etc.

I have enjoyed the proximity of my family being together - all of us eating meals at the table, and simply being with each other. This is rare as my working hours are erratic and my peak period is weekends and holidays. My husband travels for work. My eldest son is serving NS with my youngest about to enlist. So, I have truly enjoyed this family time since April onwards!

Working from home is something many of us in the literary arts can identify with. I do miss going to my studio at Goodman Arts Centre and meeting groups of people or holding rehearsals. We have managed to keep in touch and continue with our work through online meetings, virtual rehearsals and online discussions. I do find that things take longer to execute and deliver...for there is no replacement to a face to face physical meeting and making immediate decisions. Almost everyone I know in my industry has been impacted by COVID-19. Many have used this time to do some major housekeeping and organizing of their spaces and resources. Some have taken on projects or work in other sectors that provide immediate income. While others have used this time to reflect and to create new material. I don't think artists ever 'do nothing'...even when we daydream or have nightmares, we are ideating, or conceptualizing, or planning for something that might materialise later on. Every memory and emotion is stored as an inspiration, and becomes the Muse at some point.

The arts may not be considered by many as an important or established career path. What needs to be done now is to continue to make an impact as artists and to carry on creating awareness and to patiently educate the public about our forms.
As a young nation, this will take time.

In any situation, where education about a topic or theme is necessary, we must be prepared to share. As artists, we should be open to dialogue with the public; so we can share our knowledge and experiences and hence demystify our practice. As the public, people must also be curious to find out what we have to say; be patient and willing to sit and listen (or view or read) about our work. I have always believed it is the small things that count - the short conversations with strangers like taxi Uncles I meet who drop me off at The Arts House or a museum; and how I start asking them about their work, how long they've been driving and what has changed over the years.
At the same time, I am opening up the possibility for this Uncle to ask me what I do and why am I going to this destination. And this is when I tell him about my work and how I tell stories, and the place I am going to is a heritage monument etc. These little daily encounters give us an insight into each other's lives. I do think it is our own responsibility to be proud of who we are and to confidently talk to others about our work; sharing our passion and enthusiasm for what we do can be infectious.

It helps to be multifaceted within our own genres and practices as artists and creatives. The different skillsets of performing our art, or teaching our art, or producing our art, or conducting research about our art, are some examples of how we can leverage on a variety of skill sets that are still fundamentally entrenched in our art form. My capacity to produce, direct and fundraise has definitely helped pivot StoryFest 2020 right in the middle of a pandemic, and to keep numerous artists and crew employed. If this pandemic has taught us one thing, it is to keep learning and discovering alternative tools that can provide support to our main art form. We need to embrace an open mindset that permits us to experiment and explore as well as to fail, so we better understand our capabilities.

It is also incredibly important to be part of your community of practice and to be deeply engaged with different networks. We can lend support to others especially in times of need. The arts community in Singapore has become closer in the last few months mainly due to the presence of online groups and platforms that allow us to voice our fears and to receive guidance - there is always immense comfort in knowing that we are not travelling this road alone.

We are resilient. I have had to learn new skills, quickly! I may have considered myself a tech-novice, but I managed to surprise myself and complete teaching an entire postgraduate course online, with a week's notice. I was faced with many scenarios where it would have been easier to decide to cancel, walk away or simply say no. However, I would have let down so many people along the way, if I had been afraid of embracing change and taking a risk. This period since the end of March seems like a large wave slowly rolling in from the sea. We don't know when it will break on the shore. We can choose to ride this wave alone or use our hands to carry others along with us.
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Kamini Ramachandran is a storyteller working with the oral tradition of performing folktales, myths, legends, epics, fairytales and fables. She also has a non-profit company, The Storytelling Centre Ltd that produces the annual StoryFest: International Storytelling Festival Singapore, she also manages the Young Storytellers Mentorship Programme.

Her works are available for viewing at:

https://www.instagram.com/kaministoryteller/?hl=en 
https://www.instagram.com/storytellingcentresg/?hl=en 
https://moonshadowstories.com/

JAXTON SU, VISUAL ARTIST

I am a visual artist who creates painting, installation and video art. Mural painting, community art and curation are some of the other things I also do. I am interested in the parallels between the sublimity of nature and of the human mind.

I have had a passion for art since childhood. There has been a voice in my heart telling me to create. Like others, I have felt pressure to pick a more stable career path. I started off as a graphic designer in a design firm but after a year I decided to call it quits. I felt miserable not being able to do what I love and need to go all out to pursue my passion, as.

It is always tough in the beginning. Starting out there was close to zero or no income; I quit my full-time job as a designer to pursue my dream, so the stability was gone and there were lots of uncertainties. I observed what other artists do, and learn from them. conducting workshops, caricature at events, community art and mural painting would be some examples. I stepped out of my comfort zone and picked up things that came my way. Being self-employed also meant working almost every single day from morning till night, which is hard to balance. I dedicated all my time building up a portfolio of works and working towards my first solo show. Unfortunately, COVID-19 and the circuit breaker this year have affected all of us. But, I would say my “hardships” are still comparatively alright if compared to many others out there as I have to only support myself.

My income dropped compared to the previous year, fortunately, it is slowly going back on track as we transition to phase 2. There are many projects postponed indefinitely or cancelled due to COVID-19. We have seen a major decrease in mural painting projects due to the uncertainty of the current economy. Another significant loss is community art projects and corporate workshops that I used to conduct, due to regulations on large physical events. I am also not entirely keen on the virtual route for workshops. I feel that much of the fun in interaction is lost. As for my daily work, without access to my studio,I have had to make adjustments during the circuit breaker period. I tried to make the best of my time at home, creating video art, responding to open calls and planning for upcoming projects. Many of my overseas projects planned for this year have been either postponed indefinitely or will take place without me being physically there. I am glad most of them still managed to happen, with support from the host organization and overseas peers.

I think I am dealing well as things are going back on track. It can feel a little overwhelming and tiring as projects are starting to snowball and happen all at the same time with the easing of COVID restrictions. There are things that will happen a little differently due to COVID now. For example, exhibitions will not hold opening receptions, are transitioning artist talks and workshops online workshops.

Some government grants and initiatives have been quite helpful too in assisting those affected. During this time, I am also glad people within the industry are quite supportive of one another, with Facebook support groups, etc. Within my network, everyone has also been encouraging one another and sharing opportunities. The mentality of the individual within the industry is very important. He/she needs to be independent, resilient, adaptable, flexible and resourceful in order to overcome this crisis in the long run. External support might not be sustainable.

Education plays a huge role. There needs to be a proper arts education from a young age. I think mainstream media could also share more about the situation. There could also be more governmental support.

We can support each other by sharing about each other’s projects, exchanging contacts and networks, suggesting solutions, and more. Words of encouragement are always nice too!I think during this time, we have learned that we can’t take things for granted. Always prepare for sudden changes and have room for learning from failures. I am now more flexible, proactive and resilient.

Positivity attracts positivity. My dad always tells me this, “Always approach things with positivity and positive things will come.”
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Jaxton Su is a visual artist who works with painting, installation and video art. In his practice, He is interested in the metaphorical parallels that could be drawn between the sublimity of nature and the human mind.
You can find out more about his works at:

https://www.instagram.com/jaxtonjx/?hl=en

PEI‌ ‌HUAN‌ ‌&‌ ‌BJORN‌ ‌WONG, FOUNDERS,‌ ‌SHOW‌ ‌&‌ ‌TELL‌ ‌STUDIOS‌ ‌

Pei Huan: As a child, I wanted to become a vet, but biology wasn’t offered at my school. I ultimately studied product design, with the intention of creating smart design solutions that positively impact lives.

Bjorn: I have enjoyed doodling and creating things from a young age. Eventually, I chose an arts education over one in engineering, majoring in illustration and publication at NAFA.

Despite graduating from art schools over a decade ago, we didn’t pursue careers in our respective disciplines. Instead, we went on to have careers in other fields — Pei Huan found a calling in early childhood education and Bjorn managed events in the sports scene.

We taught art from time to time and believed in the benefits of visual art as a learning platform, especially for children. However, unethical practices within this industry did not sit well with us and we felt compelled to step forward. Before turning 30, we decided to go back to our roots, dig into our savings and take the plunge in starting a boutique studio that keeps to a philosophy we genuinely believe in.

Material wealth is often the biggest indicator of success, especially with the role meritocracy plays in Singapore. This extrinsic motivation shapes the aspirations of a nation, and consequently, how value is perceived. Success is represented by bigger houses, nicer shoes, newer cars, more expensive things.

The spaces of visual art, music, dance, sports and culture are areas with less tangible dividends, which unfortunately shapes how some professions are perceived.

Doing what we do gives the opportunity and a voice in talking about how art can positively impact various areas in life. If done right, cultivating a creative mind positively impacts children’s development, regardless of the profession they aspire to be.

We may not be able to change the perspective of the masses, but we do what we can within our means and are thankful to be able to do so. As a younger population matures, with evidently better appreciation for diversity and critical thinking, there is hope that things will change for the better.

Our business was affected by up to 80% during Circuit Breaker, while still committing to overheads. While we were able to continue some classes online, we had to take on ad-hoc jobs like graphic design and making deliveries, barely scraping enough to cover the rent of our studio.

As a married couple with no other source of income, taking delivery of our home quite recently added to the financial strain. Still, it’s not really something we grumble about. This path was one that we made the decision to pursue, even with the inherent risks involved.

With new precautionary measures in place, most activities at our studio have resumed. It’s a steep learning curve for everyone and we are trying to take it in our stride as we go. Since the COVID-19 pandemic, we’ve been forced into a variety of peculiar situations and have thus far emerged with a stronger resolve.

Certain projects, especially those involving events, have been badly affected. This has spurred us to introduce some new offerings to both fresh and existing clients. Many friends and associates involved in events-related work have been hard-hit. We try to help each other and find ways to collaborate and leverage on each other’s strengths.

Tertiary students looking to fulfil their attachment modules have also suffered due to the lack of available opportunities. We’re currently working together with Nanyang Academy of Fine Arts to explore how best to effect industry-based learning in the current economic climate.

We have also started working with Hopefull, a ground-up initiative that provides learning and educational resources to children and youths from low-income families. The volunteer-based community comprises artists, creatives, athletes, corporate executives and other professionals. Hopefull exemplifies the importance of diversity in working towards a common goal.

In this light, the guiding pillars of Show & Tell Studio’s pedagogy is very much translated into how we approach the business. We try to take challenges in our stride, work to bring out the best in one another and grow from strength to strength, while not forgetting to give back where we can.

Regarding the survey on artists as non-essential published by The Straits Times during the COVID-19 pandemic, it came as no surprise. And given the context of the survey, it was accurate. The arts industry, as with sports or culture, in relation to industries like medicine, research, logistics or cleaning is surely less important when set against the backdrop of a global health pandemic.

Comparing who is essential or not will inevitably put some professions ahead of others — that’s what any kind of comparison fundamentally achieves.

What had many sitting up was how misleading the findings were and how open it was to misinterpretation. We have to understand that context is important; that data is not the same as information; that media channels present opinions and everybody has one. The purpose of the survey was pointless at best and almost as if for comic relief, an artist actually put together the information.

At such a time, it would have been more constructive to focus on how industrial and occupational diversity can positively impact society by contributing based on their respective strengths and capacities.

As a nation, we have an aberrant obsession with tables, lists and rankings. Haphazardly interpreted, these can often be perceived as indicators of success, further establishing stigmas towards occupations, brands, ethnicities and so on.

For a start, not juxtaposing occupations as ‘essential’ or ‘non-essential’ would be helpful. Not every discussion needs to validate something being better, stronger or more important.

If conversations can angle towards appreciating how artists can contribute and how creativity is central to human progress, perceptions would be very different. As a culture, not just with regards to the arts, there is a concerning lack of such conversations that explore the importance of different roles in an ecosystem.

We have enough diversity across the industries to complement each other with our various areas of expertise. For the art industry, we must be open to convening, to share and learn from one other, instead of drawing lines that divide. As players in the same industry, we have the responsibility to shape it and must endeavour to collectively move forward in a way that is dynamic, relevant and of value. No industry exists in a silo and we should come to terms with that.

Think constructively and laterally; try not to take things too personally.

As for us, we’ve always chosen to live without regrets, which shapes the way we approach life. It helps us think through our decisions with greater awareness and accept their outcomes, regardless of how unsatisfactory. This provides a certain peace of mind, which has consequently been helpful, especially over the past months.

There will always be good and bad days; we will always make good and bad decisions. We must be able to continuously learn, innovate and adapt to changes as it is what makes us human. This is a concept we often overlook and must make deliberate efforts to revisit.
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Pei Huan and Bjorn founded Show & Tell Studios in 2018. The boutique studio for art learners specializes in children’s programmes and curates creative workshops. They see art as a powerful platform for sparking conversations, learning about ourselves and the world around us.
You can find out more about the studio at:

https://www.instagram.com/showandtellstudios/

CINDY NEO, ARTIST AND FOUNDER, ROOM TO IMAGINE

I have always been interested in art as a child. Creating with my hands - drawing, painting - came naturally. As an introvert, time spent making art and reading were my two greatest sources of joy and comfort growing up. Whilst pursuing an art education, I was fascinated by the ways that art is taught and learnt. The people I have met and their infinitely different interpretations of what constitutes art also continues to take me by surprise. I find joy in crystallizing the bits and pieces of all these experiences from over the years into what I share with people today through the workshops I host.

Being an artist in Singapore is a challenge as we seem to measure the value of an artist by their success. In our society where achievement is closely associated with financial wealth or earning power, an artist may not be considered successful. This perception diminishes the value of our artistic achievements or contributions, making it challenging for us to price our works and services in a way that enables a creative career to be financially rewarding, perpetuating this cycle.

On the bright side, I believe there is a growing appreciation for local arts. More artists and artisans are being recognized for their craft, thanks to the open platform of social media and greater representation in mass media. Having diversity represented on these platforms is crucial to broaden the definition of success in our society and cultivate a love for local arts.

Unfortunately due to COVID-19, most of my corporate engagements were cancelled and public workshops had to be put on hold. The financial impact was very real. Things have improved since the opening of Phase II, but it will take time before everything feels back on track.

Some of my friends in digital or web-related design are doing well, thanks to the increase of ecommerce projects as businesses reinvent themselves. Friends working in other industries, however, have lost work due to the cancellation of projects. Others who host art workshops, like myself, have seen a significant drop in income over the past months due to the various measures put in place to support social distancing.

At the start of the Circuit Breaker, I saw the one-month downtime as an opportunity to hone my craft and to experiment. As the lockdown was extended, I had to rethink my plans and quickly launch online classes as well as art kits that could deliver the experience directly to people in the safety of their home. Being flexible and open to change were two key learning points for me, and has become a mindset that will remain beyond this pandemic.

While I don't feel offended by the survey labelling artists as non-essential, the lack of sensitivity was disappointing. It is wonderful to give recognition to the occupations that are playing critical roles amidst the pandemic, but it could have easily been done without undermining the value of others just to strike a comparison.

As mentioned above, greater representation of the creative community in mass media, and projects such as this, definitely help to raise awareness of the issues at hand. Thankfully, I feel that we are seeing more of these features. But above all, I believe social media is the most powerful tool that artists have today due to the immediacy of the platform’s direct connection between content creator (artist) and audience.

Embracing technology and digital marketing tools has been essential in surviving this crisis for all industries, not just for creatives. For me this means having a constant stream of content on social media, hosting online lessons on Zoom, and pivoting from physical retail to a delivery-focused model. I was already using some of these tools to engage with my audience but with the pandemic, these became even more important. Moving my workshops from the physical to the digital space also removed geographical limitations as I am then able to reach out to an audience beyond Singapore.

In my opinion, active participation is the key to building a more close-knit creative community. It could be as simple as showing up to someone's first showcase or tuning in on an online art panel discussion. As strange faces become familiar on the second or third encounter and names of our fellow local artists start to ring a bell - a sense of community will start to grow. With that, openness in sharing knowledge and experience will hopefully also follow. It is through this sharing that we can grow collectively and develop a more vibrant art scene.

It is in this spirit of growing the local creative community that I started the project - Imagine The World (ITW). Sharing the studio space at Room To Imagine, ITW is a collective of local artisans and visual artists who promote art literacy and art appreciation through a host of programmes available to the public, including: art workshops, artist talks, and showcases.

As the world ground to a halt with the pandemic, there was suddenly more time for introspection. With fewer places to visit, fewer things to do, and more time to do them - I became acutely aware of the excess in my life. I have so much but actually need so little. It became the perfect moment to streamline both the physical and mental clutter in my life. It also brought me to practice mindful living through being more conscious about how I choose to spend every hour.

At the same time, mental health awareness has never been more important. Throughout the pandemic, I have felt a rollercoaster ride of emotions ranging from anxiety to depression and seen family and friends go through the same. The positive side of this collective experience hopefully leaves most of us with greater compassion and empathy for those around us. Ultimately, this pandemic may well be the biggest crisis of our generation and we are far from seeing the end of it. I believe we will emerge at the end as stronger and better people than before.

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Cindy is a visual artist at the indie art studio Room To Imagine. She creates art experiences that promote art literacy and appreciation, as well as challenges people's perception of their own ability to make art.

Her works are available for viewing at:

https://www.instagram.com/roomtoimaginesg/?hl=en
https://roomtoimagine.sg/
https://imaginetheworld.co/

STEFFI K - GLASS ARTIST

I started as a performer at 15 when I began acting with a professional theatre group. I then went on to write scripts, compose songs, direct and produce staged shows, and also taught. It was around the early 2000s that I discovered glass art and decided to pursue it. Hence, I work primarily as a Glass Artist now, creating artworks by sand-carving and hand-engraving, although I still write songs and perform as a corporate roleplay actor.

I think doing art came naturally for me. When I first began, my mainstream education had nothing to do with the Performing or Fine Arts, I was reading History at NUS. But at some point after working as a researcher for about three years after graduation, I felt the need to be in the Arts full-time. I would think that destiny also played a part because substantial opportunities in the Arts came my way just before I left my research job.

It is definitely not easy being a full-time Arts practitioner in Singapore. Having straddled both the Performing and Fine Arts arena, I find that being in the latter is much more challenging due to materials, rental and other overhead costs.

Covid-19 has led to cancellations of almost all of my corporate acting jobs and when we had to work from home during the circuit breaker, I was also unable to head back to my art studio to make glassworks for sale. So this pandemic has certainly hit hard.

Since then, I have been exploring creating with other materials and methods that can be done remotely and also other online options.

Everyone I know has been hit hard by the pandemic, both financially and emotionally. Most are looking for alternatives and even taking on odd jobs while waiting for the Arts industry to gradually resume its activities safely.

When I saw the Sunday Times Survey, I wanted to laugh and cry at the same time because frankly, it didn’t come as a huge surprise about how society viewed and valued artists, and yet I felt hurt. I think though, that the survey result came about because most in society may not be aware that the Arts encompass a very large area. More than anything, I feel that we need to make more people aware of what we do and how our work enriches their lives.

As an industry, we can speak up and share more about what we are going through and facing, especially with people whom we encounter in our daily lives. They may not understand the challenges artists face, and doing so will allow a better appreciation for the arts community here in Singapore.

For artists and creatives, we should be open to do more collaborations, especially with people they’ve never worked with before, not just in the Arts field, but in all other fields as well.

From the pandemic, I have learnt to take life as it comes and to enjoy the journey despite the hardship. Sometimes, things happen so that we can re-think, re-route or re-configure our life’s path; and I see this situation as an invitation to do these, and also to learn to let go.

“Where your treasure is, there also will your heart be”, from Matthew 6:21 of the Bible is a quote I live by. When the going gets tough or when I am in doubt, this reminds me, at the essence, of why I am doing what I am doing.

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Steffi K is a glass artist who specializes in carving on glass creating artworks by sand-carving and hand-engraving. She also creates prints from glass and other carved plates.

You can find out more about her works on:

https://www.facebook.com/Steffi-k-717499815117381/?ref=page_internal

https://www.instagram.com/steffikglass/?hl=en

Abu Jalal Sarimon, Fine Art Artist

At the early age of 5, I became aware of my ability to draw. From primary to secondary to pre-university schooling, my drawing contest entries  emerged as the winning entry or placed in the top. Some of the accolades I‘ve received are 1st Place Nippon Mural Painting Competition 1989, 1st Place North Point Art Competition 1993, The Most Promising Artist Award by Philippe Charriol 1994, Juror’s Choice Award by Philip Morris 1995, Gold Award by UOB Painting of the Year 2017, and Best Artwork for Freedom & Love Art Exhibition in Manila 2019.

My draughtsmanship puts me a step ahead amongst friends as most of them do not possess this skill. And so I’ve been sought after to produce something creative, which can be an uphill struggle for others but chicken feet for me. I have regarded my drawing skill as a special gift with great values. It is much needed by most people so I have found it easy to fit within our society that determines our worth on value to others.

I have always enjoyed painting though the process of painting is very challenging. Painting to me is a fine art combat, with a blank canvas as my sparring partner. It is very tough to churn out ideas: from choosing the right color, to the execution of artwork and to completing a final end product takes a lot. Regardless, I find a lot of satisfaction in the entire process. It brings serenity, peace of mind, and a therapeutic energy that allows me to relax and stay focused. With all the value and positive returns, I am determined to sharpen my skill and never stop learning to be a better painter.

There are some real challenges to being an artist  in Singapore - limited working space and the lack of vibrant art scene most readily come to mind . A spacious and comfortable environment is very important for every artist because a good ​​space provides positive vibes, enhances energy, and boosts artists to be more prolific. I have traveled and exhibited in many places within Europe, the Middle East, Africa, Japan, China, and across Southeast Asia. Most of the artists I’ve encountered from these places were housed in a spacious studio with nice views. Some built their studios in the middle of the forest, on the seafront, on the mountains, by the beachfront, etc. Their artworks are greatly influenced by the environment around them. Art lovers and collectors pay a visit, usually impressed with the studio setting. This can encourage them to know the artist better, buy their works, and naturally expand the social networking and income of an artist.

Singapore is a developed country where the people are very focused in pursuing success and wealth. Singapore is known as a hub of knowledge, strong economics, financial institutions, tourism, technology, medicine and so on. Singapore is a young country and still fresh in the art sector.  A career in the creative industry is never a firstchoice. Parents prefer their children to pursue an academic qualification. Many are not serious about art, nor appreciate art apart  from buying the occasional art piece. Art hardly makes headlines in Singaporean print or social media. The careless and uncompromising nature of society in general contributes to the lack of vibrancy and dynamism of the art scene thus affecting awareness and development of the art scene in Singapore. This is in contrast to our neighboring countries where artists and their works are placed at a good standing and have always been a part of local conversation. Exhibitions almost always receive a full response from art enthusiasts. Here it seems as though exhibition openings are  filled only with family members and close friends. People will come during the opening day with a table filled with a complimentary buffet and wine. And then, the day after the opening is usually quiet; the art-related programs  bland with no stirring response.

Strict government control to ensure everyone stays home and prevent meetings beyond certain limits, impacts the art scene the most. The Arts requires support from the crowd of audiences and, without mass gathering, the art field has nothing. With all art venues closed and activities cancelled, art businesses have plummeted to the lowest point. With many people losing their jobs income and available savings are now reserved for daily needs.

I took proactive measures in this pandemic era by challenging myself to produce 50 artworks. I also keep in touch with friends and try to lend a hand to anyone in need. During Phase 2, I spent a lot of time in my art studio at Goodman Arts Centre. I paint daily and tidy up the studio so it remains dynamic and inspiring. This ‘new normal’ era is challenging indeed. Nevertheless, it has given me a boost to continue working - to be more prolific, focused, and calm. Financially I am still capable, as I have strong family support, some savings and some commission work, allowing me to stay afloat and keep painting daily.

I take this current situation with an open mind. To me, everything that happens has its silver lining. In fact, this is the best time to produce artwork. The time is perfect to plan for art projects and to find the right moments for self-reflection. I have made huge positive progress, producing more than 10 artworks so far. I’ve also expanded my network as I have the luxury of time to communicate with others. I spend close and personal time with my paintings and have invited friends to the studio to discuss art related subjects. Obviously, this is a difficult time and we have to be sober to carry on with daily life. That being said, somehow this pandemic offers a quiet, peaceful, and serene environment that has  allowed me to be more productive and focused in my artistic work. At the same time, I never failed to pray this pandemic would end fast so this world will get back to her usual state and allow me to fly again.

Almost 70% of my friends in the art field had been affected in this difficult time. They are not able to teach, perform, or exhibit and no one is buying artwork. They took positive measures by taking up other jobs, such as taxi driver with GRAB/GOJEK, as food delivery with Food Panda/GRAB, delivery work with Lalamove and as security officers with AETOS/CISCO. Their priority at this time is to earn income for their family and temporarily put aside their art activities. There are still high hopes of returning again when the situation returns to normal. I stay in contact with them and give them encouragement to stay brave and not to feel defeated. The situation that happened has been difficult but they are moving on with confidence.

I think it is very unwise to label the field of art as the Top Non-Essential field in this era. It is very inaccurate as every poster, campaign video, infographics and advertisement are created by artists who belong to the art field. From a social perspective, it is also not a wise decision to stereotype any type of work. This can lead to slanderous impressions and misunderstanding. I deeply regret hearing this statement and hope that the responsible parties will come forward to correct it.

The best course of action to enable art as a profession is to create a national campaign, to raise awareness about its importance and benefits. This awareness will add value to the field of art and allow the community at large to realize that art always is always involved in the development of a society and nation.

What has happened will definitely happen again. We are all ordinary human beings who often fail to interpret things accurately. We can try various ways to protect ourselves from various disasters, but many things in this world are beyond human reach. Every artist should learn lessons from this situation. With enough savings, artists and families will be able to weather each situation with full confidence and not be in a state of panic when disaster strikes.

Artists should not sit still. Given the ban on gathering, artists can leverage digital methods to add value to their artistic activities. Digital platforms can reach all parties - Art Lovers, Senior Citizen, Young People, Government and Private Institutions. Difficult situations may arrive at any time but we must always be prepared, especially in ensuring the stability of our financial resources. This is our time to strengthen the bond of friendship. In these difficult times, we need friends to talk with for comfort and security.  To avoid ourselves becoming alone and insecure, which may wreak havoc on our normal life, we must take note and be concerned with every situation. Avoid being selfish and be generous to assist anyone in need. -Today's era makes me stronger and more aware of how small we are relative  to the universe. When COVID-19 struck, we witnessed how humans and the world panicked. People lost their jobs, people raced to buy food supplies, people becoming suspicious of everyone and insecure. As an artist, as well as the head of the household, I learned clearly that we need to be prepared to face every challenge. Always stay calm and do not panic. Make sure that family ties remain strong and work together with all parties to ensure that this pandemic does not spread and that we recover soon. Although this era is difficult, staying positive has allowed me to produce more works and keep my studio clean.
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Abu Jalal Sarimon is a fine art artist. He is known for his Social Commentary works. He creates each artwork as an avenue to share and challenge the viewer’s natural and ideological perceptions of this fast shaping world. Driven by his sharp observation and conceptual visual expression, Jalal’s aesthetic variations transform common ideas with a fundamental concern towards society, the environment and humanities.
You may see more of his works at:
https://www.goodmanartscentre.sg/communities/abu-jalal-sarimon

Jocelyn Leow - tattoo artist

I decided to pursue art as my study and work because I’ve always been fond of expressing creative ideas through drawing. At the start, tattooing was just a different type of medium,“another canvas,” but my passion for it as a specialty art grew with time.

I started doing tattooing in 2015. Initially, I was interested in dot work tattoos and floral designs. Along the journey, I realised it wasn’t what I enjoyed. I ended up doing anime/manga inspired and fine line tattoos because I really loved anime and it became less of a chore to create this genre of art. Beside, I was inspired by a particular Korean artist “Neondrug”. I came across his Instagram and spotted him at a tattoo convention, and received a piece of his design from him. That’s when I changed my style for the kind of tattoo I wanted to do!

Tattoo artists often face stereotypes in Singapore. A common misconception is that having tattoos means you are in bad company. People across the world have grown to accept tattooing as an art form, beyond its unsavory associations. I have yet to experience such remarks outside of Singapore.

The circuit breaker affected tattoo artists financially, but it was a really good time to draw and produce other works we wanted to but lacked the time.

With the easing of the Covid-19 restrictions, we were allowed to work again. We are familiar with working on a one to one basis so the rules applied to us were no different from our usual procedures. Our biggest issue was financial difficulties. With zero income coming in, we have to learn to manage our finances in a stricter manner. The bosses of tattoo shops will have felt the closure imposed by the circuit breaker the most. But, on the bright side, it’s also a period where we can spend more time with our family!

Other artist friends of mine had always been able to run their businesses online and haven’t been as directly impacted, but they still faced a drop in sales. It’s my understanding that they have faced slower production overseas deliveries as well.

I understand why artists fell under the non-essential category in this current period. I don’t necessarily agree with it.. Artists have been considered as having a job of leisure, as we cater to people’s desires rather than their needs. However, I don't see a need for a hierarchical breakdown to different levels of importance.Doing so accomplishes nothing but antagonizes, when we should be dedicating energy to supporting each other.

I think people should embrace experiencing the essentials of art and design as we are all surrounded by it. Seeing the importance of how designs and art can help sell a certain product,it’s capacity to influence someone visually. Good design can change minds.

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Jocelyn is a tattoo artist from Singapore. Her works are largely derived from Japanese styles of art form, having been inspired by the culture as well as the manga and anime she grew up with and love. You may see more of her works at:

https://www.instagram.com/jojojawstattoo

Maria - Art Director

I came to Singapore from Russia in 2005 as a kid.
It all started from cutting off doll heads and juxtaposing them into interior objects like doorknobs and lamps.

In Secondary School, I had an inspiring teacher, Mr Heng. I wanted to study art but my school only offered art as a subject for non-express stream.

Mr Heng would randomly attend classes wearing a messy wig. Like a hairdryer, he would continuously blow us away. He advised me to go down the academic track and join a faculty. This way I would be surrounded by like-minded, quirky people who also aren’t afraid to be themselves. Listening to the guy in the wig was life-changing. It made me realize how fortunate I was to attend primary, secondary schools, and college in Singapore.

Proving oneself as a creative isn’t easy. No one fully understands you, so you spend a lot of time alone, with your work. Your family may have a hard time understanding what you do and why you do it. Anyone can embrace a creative lifestyle, but doing it for a living requires a character that has been stripped off of ego and self-doubt. To be artistically tangible, you need to be possessed by the process, regardless of what is going on in your life.

The pandemic has given me more time to dive into my self-development and to work on the projects I’ve been putting off. The financial struggle has helped me develop a new personal style. For example, in this series, I am only using black paints because I wasn’t able to afford a vivid palette. I pursued minimalism as a form of expression with humans as subject matter. I’ve ventured into Minimalism also because it leaves a lot of room to feel. I am not prescribing you a feeling, but you have the power to react in your own way.

I feel blessed to have a balance between my day job and a hobby that I can fall back to as a form of meditation as well as an inspiration for my digital work.

I feel that there’s a lack of education behind what ‘art’ is and how much it contributes to the daily lives of everyone, not just artists. Essentially, is your value in society coloured by a socially constructed idea? Would you want to get a bad haircut? To me, hairdressing is a craft. Would you listen to music that annoys you? Every decision you make is bounced off your artistic sense of comfort and comprehension.

I strongly encourage collaboration between creatives. Collaboration adds perspective as to what individuals are capable of contributing as well as their areas of growth. It’s a massive character-building exercise. When art is concerned, we need to question why and whom we are doing it for. And, why now? Artists and creatives should indulge in projects that are relevant to people’s struggles and elevate their lives.

Quotes I live by:
"If you think you’re having a bad day, wait for 10 minutes."
"Don't worry, no one is thinking about you."
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Maria is an Art Director based in Singapore. In her own free time, she paints minimalist humans. You may see more of her works at:
https://www.mishmasha.co/

Aleksandra Hessel, Painter

My name is Aleksandra, and I have lived in Singapore for over 4 years. I work on oil & acrylic paintings in my free time purely as my hobby. I loved expressing myself this way. Painting is a form of meditation for me. I also love the art community here, often visiting exhibitions and galleries, which gives me the inspiration to create.

Since early childhood my hands were always busy drawing something, I’ve attended art pre-school. However, this hobby was forgotten and I came back to art only a couple of years ago. Hungry for creativity, I'm trying out different styles and mediums, looking for my own style. I'm inspired by the aesthetics of the city, flowers, women and enjoy the understatement of an abstract.

I started painting again in Singapore after a long break and I'm very grateful to the city for this. What I miss here are the street markets where artists bring their artworks in a casual manner and the bohemian atmosphere around it.

I believe the statement about artists being non-essential was not very well thought through. Artists are the ones who stand behind all digital designs, prints, images that we enjoy in the online world daily. They are the ones who fill our homes with beautiful objects that brighten our day. The ones who spark creativity in our children through books, songs and pictures. A world without artists would be ”essentially” lifeless.

Everyone needs to speak up for artists. We can help by filling our social media with artist’s works and stories! This will help in providing a bigger exposure for the artists by expanding it to the greater community.

I feel that having a platform, for example, Sunday Art Market where artists and artisans from all over Singapore can come together & present their artwork for the community would help artists from such a crisis! Having a physical space where the various creatives can talk to one another and mingle will allow artists to be better appreciated, where people get to interact with each other directly.

2020 has been a challenging year for everyone. It is important to be at peace with your mind and body, this is the key to it all. I’ve also learnt about the importance of human connection and communication. Your special day might never come, you need to act today!We're never gonna survive unless we get a little crazy!

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Aleksandra is an aspiring painter based in Singapore. Her influences for her work comes from the power of nature, millions of colours and shapes that you can see in nature. She often goes to the Botanical Garden or Beach Clean-ups to get her inspiration. Now, Aleksandra is taking oil painting courses with Lasalle College of Arts.

You can find out more about her works at:
https://www.instagram.com/cheeky_brush/

Jacklyn Kuah, Artistic Director

I was exposed to arts and culture from a very young age. My parents felt that joining sports and uniformed CCAs (Co-Curricular Activities) would put me in a state prone to accidents, therefore, I was only allowed to join dance, music or drama. This decision planted in me the seed of passion for performing arts.

At times, friends and peers envy me for being able to have a career that I am passionate about. I do not have spending power like others outside of the art world, so I have slowly faded away from those people. My family has been apathetic as they do not see it as a career with stability. I don’t consider this perspective as entirely their fault.Society often gives me a feeling that we, as artists, are not to be taken seriously, as though we are all just dabbling in a hobby.

I lived in Taiwan for the past 3 years.When I was living intermittently in Hongkong about 15 years ago, I felt that artists in Hongkong face similar difficulties as artists in Singapore, except that artists there were more aggressive and outspoken. I am uncertain of the reason. Perhaps it is because of the freedom of speech they have compared to the restrictions of artists in Singapore.

In Taiwan, artists are held in high esteem and there is a Ministry of Culture dedicated to art and cultural matters. Taiwan were one of the pioneers to develop drama in curriculum and

theatre-in-education, which has subsequently been adopted in Singapore. There are also several prominent national universities for the Arts in Taiwan.

The pandemic greatly affected the work I do in live theatre and drama education in schools. At first all activities were stopped, but now have mostly resumed as online live streaming events and zoom classes. The numbers of shows and classes have decreased greatly, also decreasing our income to nearly nothing.

I came back to Singapore to pursue my Master’s Degree.Luckily, I did have some savings to tide me over the first few months. However, my plan to teach drama and do some theatre performances to help support my studies was not possible for almost the entirety of 2020. And so, I decided to concentrate on my studies.

Other friends were badly affected as well. Some are using government grants to adapt to digital mediums, but not everyone has the capacity to do so. Digital mediums incur additional cost in technical support and require all other creative aspects to be re-adapted, such as scripts, directing, performance, designs, etc. Teaching online classes with students in their individual homes rather than a shared setting requires a different skill set. Quite a number of artists have stepped out of the arts industry entirely at this time.Most of them say they will come back if the situation improves and they are able to earn a living again.

What someone who isn’t in the industry may not understand is the complexity of putting up a theatrical performance let alone adapting it for a digital version. The process of transitioning a theatrical performance to a digital performance is painstaking and arduous. Without the experience of a live performance, audiences are not able to enjoy the nuances that can come from a live show.

I feel that the editor who allowed the article and the top non-essential list to be published is a privileged person. I would ask the people who voted artists as non-essential to stop watching movies, stop listening to music, toss out their radios, televisions, books,and all design in their lives. If the writer had shown the top essential list of jobs in such a time of crisis, I would applaud that. I understand that many of the essential jobs have been under-appreciated, but it is unnecessary to put down other people’s jobs. It especially feels inappropriate when the arts are keeping people sane during this period.

For the general population to understand artists better, we need people to utilize their soft power and take action such as producing documentaries that follow the lives of artists. We need leaders in the ministries that deal with the arts and cultural sector. We need individuals who really understand our industries. We need help rolling out more engaging and constructive policies or grants.

There should be more dialogues across communities of different art forms and even within the same art form. A few communities that started because of the pandemic.ne of the groups are now talking to NTUC, working towards an association dedicated to supporting artists and creatives.

No doubt that we have to be open to changes, but one very important thing that I have discovered during the pandemic are the mental health challenges. I believe that the Singaporean government has given more attention to this health concern, but there is still a lot to be done. As an individual or as a society, we should prioritize our mental health.

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Jacklyn Kuah is an artistic director, based in Singapore. Jacklyn's involvement in the performing arts started when she joined the Chinese Dance Club in primary one. She has been on stage performing since then. Since 2005 she has toured to international festivals in Europe and Asia. Her directorial debut was a play based on a children’s story that opened the door to using symbolic images to portray social issues in a visually entertaining manner. Jacklyn directed her first physical theatre production at the 3rd Physical Theatre Festival (2008) in Seoul. In 2015, her rendition of ‘Mandala’ was invited to participate in Shanghai International Contemporary Theatre Festival. Her acute sense of adopting suitable minimalistic designs for thematic effects continues to draw the audience into the journey of the characters’ inner selves while stimulating thought-provoking questions.

Special thanks to WILD RICE for providing the space for the photoshoot session, and Shou Chen for liaising for the shoot.

Venue: WILD RICE
Talent: Jacklyn Kuah
Assist: Zachary Yap
HMUA: Jeffrey Linus Lee (Make-Up / Hair Artist)
Teresa Tay (portrait image)

(The concept of the image was a performer playing to an empty audience due to covid restrictions)

Onstaging - Events & theatre specialists

Since I was young, I have always joined my parents in watching concerts, theatre shows and art-related performances. Unknowingly, my interest grew in this area. I started getting hands-on by fixing or creating things when I was at a young age.
People around me called me ‘Bran-the-builder’ and I enjoyed being called that name. I thought “hey why not, I should really start building things.”. That is also when I realized my inclination towards the art industry – particularly in building something and especially making things come alive on stage.

As time went by, I got more interested in the world of set building and propsmaking. From the tiny, intricate details of a Pedestal from a Roman column used for a stage play, to the large sets of a Japanese themed show about a peach, it leaves me in awe to see how the sets are constructed, from the beginning to the end.
A hardship faced would be the feeling of unappreciation from others. Aside from the low budget that many have for ‘artwork’, many do not appreciate the time, effort that is put into creating ‘art’. Sometimes, people see us as manual workers who are there to set up stages, but we are honestly, so much more. The process of creating a show/ stage includes drawing, designing, coordinating, painting, assembling, sculpturing, and much more. Unfortunately, most people only see what’s there on the stage – an hour of performance. Building a stage at midnight while everyone is sleeping is not something that many see or experience.

OnStaging works mainly with theatres and events. With the COVID-19 restrictions and measures, events and theatres have either moved online or been postponed. This has definitely taken a toll on my company’s work – financially. However, I have learnt to make use of the extra time that I have, to venture into home interior designs and carpentry works, as well as strategizing for OnStaging’s future plans moving forward. This period has given me ample opportunities to upgrade myself further – in terms of learning new skills and knowledge.
OnStaging also has plans to venture into rental of our warehouse space for photo and video shoots for individuals, corporates, theatre and events. Individuals and companies can also rent our items to create sets, all in one space.

It is definitely disappointing to hear that artists are classified as the top non-essentials job. I believe that art (i.e. Spotify, Youtube, Netflix, Instagram, Animes, etc.) is something that has been keeping sane, most of the time – with or without COVID-19. After a long day at work or in school, many would listen to music or watch dramas to uplift their mood (or soul!). Without entertainment and having to coop up at home during the circuit breaker period, many would have gone bonkers! However, I do not blame them, the definition of ‘artist’ may not be specific enough to the participants of the survey.

With more write-ups covering creatives, it would help to raise awareness of the struggles that artists/ creators are facing. There could also be a social media page (web or instagram page) for different creatives to share their struggles!

It would help to debunk certain myths that the public may have. The Arts and creative industry should also explore sharing their creativity online for people who truly appreciate art and to help support those who may feel down during the COVID-19 period. The Arts and creative industry can also explore collaborations with companies to support one another through this crisis.

The major takeaway I have from this situation is that we must learn to adapt to circumstances as things do not always go the way we want to and it is up to us to decide whether to fight this battle or let it defeat us.
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On Staging is a theatre and events build specialist. We have over 30 years of experience in the local events/theatre industry, working with clients such as Esplanade, Pangdemonium, Shangri-La Hotel, Wildrice. our mission is to create aesthetically enthralling sets that would leave the audience with an unforgettable experience and moments. With a commitment to providing the highest standards in every aspect of our work, our services are specifically tailored to meet your needs – regardless of the production/event’s scale. Our services include Designing, Wedding Setups, Set Building, Props Making, Scenic Painting, Sculpturing, Carpentry, Backdrop and Banner Printing, and Metalworks. We strive to keep the world of performing arts alive and provide the dream stage for performers.
Brandon is the Project Manager of OnStaging.
You can check them out at:
https://onstaging.com.sg/
https://www.instagram.com/onstagingsg/?hl=en