Here it comes: the time of year for Singapore Art Week yet again. Here, our pragmatic cityscape morphs into a cultural behemoth, displaying the works of Singaporean painters, photographers and creatives from all walks of life alongside globally acclaimed artists, all in full view. During this annual event, there is always a resounding sense of anticipation among art enthusiasts and collectors in the air, as it becomes a hotbed for experimentation, discourse and most importantly, the ability to dream.
Harnessing and embodying this creative spirit, Vogue Singapore responds to the works of eight different local artists across a varied range of mediums. The spread comprises members of avant-garde dance group Singapore Butoh Collective, Elden Zachery and Tan Wei Ying, presented in a sculptural, Herb Ritts–like manner; Siew Guang Hong, an artist who creates images of crustaceans using his own body parts; Anna Dutoit, whose monstrous masks and pen sketches of otherworldly beings are tied to her lived experiences; as well as filmmaker-artist duo Lam Li Shuen and Mark Chua, who create an experimental film filled with tension by imprinting their own hair across Super 8mm film. On the gentler side are Benedict Yu, who explores kinship through VR portraits of his family, and Claudia Koh, a Singaporean painter examining themes of cultural identity and the female body.
Below, discover a visual dialogue with the featured artists, in reverie of Singapore Art Week.
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年年有余 (2025) by Claudia Koh
Painter and sculptor Claudia Koh weaves together elements of traditional symbolism with modern artistic techniques. Her work often combines objects and motifs from her culture, as seen in the painting 年年有余, where a koi fish and orchid are seen in flux with each other, along with a traditional greeting of good fortune emblazoned across the top right of the painting.
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年年有余 (2025) by Claudia Koh
In this Vogue Singapore-produced image, the koi fish and the orchid depicted in Koh’s work 年年有余 is personified, where Zuzu’s Louis Vuitton skirt mimics the gills of the fish and Arif’s bareness reflects the fragility and purity of the orchid.
From left: Zuzu wears Duran Lantink top from Dover Street Market Singapore; Louis Vuitton dress, skirt and shoes. Arif wears Celine pants; Givenchy belt; Christian Louboutin shoes
3 / 10
‘Visions From My Scalp’ (2023) by Mark Chua and Lam Li Shuen
Filmmaker-artist duo Mark Chua and Lam Li Shuen examine the intersections of history, materiality and existential unease through speculative fiction and multimedia installations. In ‘Visions From My Scalp’, they adhered strands of their own hair to film leaders, splicing them into looping sequences projected simultaneously. Altered live with ink during projection, the work conjures an inescapable atmosphere of tension and anxiety.
Brunello Cucinelli jacket
4 / 10
Tan Weiying and Elden Zachery, Butoh dancers from the Singapore Butoh Collective
Butoh, an avant-garde Japanese theatre dance form, has gained prominence in Singapore’s art scene through Singapore Butoh Collective. Two of the collective’s members, Tan Weiying and Elden Zachery, demonstrate the visceral nature of the medium through considered movements in these images while being clad in traditional white Butoh paint.
From top: Tan Wei Ying wears Chloé dress and scarf. Elden Zachery wears thong, stylist’s own.
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Elden Zachery, Butoh dancer from the Singapore Butoh Collective
Zachery puts himself in a slow hyper-controlled motion, a signature of traditional Butoh dance.
Thong, stylist’s own.
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Tan Weiying, Butoh dancer from the Singapore Butoh Collective
The term butoh translates “dance of darkness”, and the unorthodox form was built on a myraid of normatively grostesque expressions and movements.
Chloé dress and scarf
7 / 10
‘mimesis (Porcelain crab)’ series (2025) by Siew Guang Hong, image courtesy of Richard Koh Fine Art
Siew Guang Hong is an interdisciplinary artist who utilises biology and anatomical investigation to propose new ways of understanding otherness. His work, ‘mimesis’, depicts digital collages composed of the artist’s fingers and feet, contorted and cropped into various shapes to resemble body parts of porcelain crab species found within the IndoPacific region.
Dior jacket, pants and shoes; socks, stylist’s own
8 / 10
'Mother’s Body Remembers’ (2026) by Benedict Yu
Benedict Yu is a VR artist who explores the transformative potential of digital environments as spaces for spiritual introspection, collective storytelling and emotional restoration. In ‘Mother’s Body Remembers’, he traces his ageing parents’ bodies with a VR device in a digital portrait, preserving conversations that carry both tenderness and grief.
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'Mother’s Body Remembers’ (2026) by Benedict Yu
Vogue Singapore’s interpretation mimics the experience of viewing one of Yu’s virtual reality paintings, when the perception of one’s corporeality of self is altered greatly–putting the viewer in a state of immersion no other medium can attain.
Louis Vuitton top and dress; Ask & Embla lip ring
10 / 10
'Grazing’ (2025) by Anna Du Toit with floral arrangement by Fawn World
Known for her intricate ballpoint drawings and clay mask sculptures, Anna Du Toit weaves a recurring orchid motif into ‘Grazing’. Over time, the flower withers and transforms, shifting from a vessel of life into an emblem of time, decay and rebirth.
Charawan Klamsri dress and headpiece
Photography Zantz Han
Creative direction and styling Nicholas See
Make-up Kimberly Chee
Hair Christvian Wu
Manicure Kassidy Chua
Set Design Arendayen Abegail Loreno
Florist Fawn World
Photographer’s assistants Sin Yean Yam
Styling assistants Lance Aeron
Models Zuzu/ Mannequin Studio, Sophia/ Mannequin Studio and Arif/Now Model Management
Dancers Elden Zachery and Tan Wei Ying/ Singapore Butoh Collective
Vogue Singapore’s January/February ‘Art’ issue is out on newsstands and available to order online now.
