When we think of the greatest artists in history, how often do names like Georgia O’Keeffe, Frida Kahlo or Yayoi Kusama come to mind, in place of Da Vinci, Van Gogh or Picasso? Women have been—and still remain—dramatically underrepresented across a majority of fields. The world of art, where the historical absence of female artists can be traced back to systemic sexism and a lack of opportunities, is no exception. This has been further exacerbated in many Asian communities, where ventures into creative industries are seldom encouraged. Yet, many women persist in overcoming these barriers, striving through their art to have their voices heard and stories told, whether on our shores or abroad.
Inspired by their journey, Vogue Singapore speaks to three emerging female artists from Singapore doing exactly that. Making waves with their work both locally and internationally, these young creatives are navigating the global art scene all while experiencing the unique challenges attached to being a woman of Southeast Asian heritage.
Here, Claudia Koh, Alexandria Lee and Vanessa Liem share their journeys and the experiences that have shaped their craft. Whether it’s an effort to defy cultural expectations or a long-term goal to propel Singaporean art onto the global stage, these narratives unveil the perspectives and topics that our local creatives hold close to their hearts. Striking a steady balance between adding to the global art scene while imbuing Singaporean culture into their work, these artists also open up about what they hope to achieve in the future.
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Claudia Koh
A single glance at Claudia Koh’s works will reveal how she challenges historical depictions of women in art, which are often confined to narrow, passive roles. “From a young age, I’ve believed in embracing the multifaceted nature of being female, particularly through reaffirming all of my emotions, values and perspectives,” she shares. “Nude self-portraiture is empowering in its vulnerability. Despite feeling invisible in some real-life situations, on canvas I am a woman declaring that my existence is worth recording.”
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'Two-Headed Woman' by Claudia Koh
Koh also artfully captures familiar glimpses of Asian culture, reflecting her ties to her heritage. For example, a bowl of rambutans on a table, a pan chang knot around the first piece of furniture she purchased abroad or a blue-and-white porcelain vase nestled in the corner of a canvas. “It’s intimidating navigating the New York art scene as a Singaporean female painter, but facets of my origin only become more pronounced in my creative process when abroad,” she says. “People don’t know much about Singapore, so when I include subjects unique to our culture, they ask and learn about us.”
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'Constellation' by Claudia Koh
With the success of her exhibitions in New York and Milan held earlier this year, Koh makes remarkable strides representing Singaporean fine art overseas. “Being alone overseas for extended periods made me realise how my mind constantly tries to find home in a foreign place. I’m spurred to put Singapore on the map. I hold pride in where I come from and the traditions I was brought up with, which I believe is how Singaporean artists can distinguish our work internationally.”
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Alexandria Lee
“I want to express narratives that resonate with me, be it cultural explorations or stories that don’t typically receive attention,” shares Australia-based artist Alexandria Lee. “My current mission is to authentically depict the complexities faced by Asian female creatives pursuing their craft abroad.”
Lee’s latest project, Like Daughter, Like Mother, embodies this goal. It sheds light on an often sidelined narrative shared by many Asian females in creative fields: the lingering, silent guilt of choosing a path that deviates from cultural norms. “Like others, my parents sacrificed immensely for my future and hope for a stable trajectory for me. I felt a lot of internal conflict and pressure when asserting my voice and going against those norms,” she explains.
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'Like Daughter, Like Mother' by Alexandria Lee
“My mother’s invaluable guidance has always had a significant impact on my aspirations and perceptions. But as my journey into art advanced, it demanded further exploration of my identity that was separate from her influence,” Lee shares.
In Like Daughter, Like Mother, Lee uses words from letters exchanged between Asian female creatives and their mothers are skilfully to create drawings of each mother-daughter pairing. “My photos and drawings capture intergenerational exchanges to authentically represent female Asian creatives and also pay heartfelt tribute to our parents, who eventually embraced and supported our passion for art despite their initial reservations,” she emphasises.
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'Like Daughter, Like Mother' by Alexandria Lee
“The response has been overwhelmingly positive,” Lee says. “Many Asian women have shared how the pieces stirred a profound sense of healing within them. I hope this project continues to foster healing and connection across generations, and remains a beacon of resilience for Asian female creatives who make art with strength despite cultural barriers.”
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Vanessa Liem
If you attended Art SG this year, you might have caught sight of Vanessa Liem’s playful works, with figures that boldly tease audiences through the canvas. To the artist, these pieces marked the end of an era. “The reclaiming of female agency has been a common thread in my work for years, which makes sense as I grew up in a predominantly-female household. While that theme remains, my depiction has evolved to deal more with self-perception and internal reflection,” Liem notes.
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'Happy Baby' by Vanessa Liem
The young London-based artist has refreshing, nuanced takes regarding the portrayal of female figures in her art. “Reclaiming agency is complex—there’s pain, fear, confusion, doubt, excitement. I like to depict confrontational women, but also fearful women,” Liem shares. “Honestly, I just want to paint women as they are, existing freely without labels. My characters possess many feelings, all of which are valid and can be interpreted uniquely, depending on who looks at it. Some want control, but love the attention of the viewer staring at them. Some put on a strong front, but are paralysed by the viewer’s gaze. Some simply don’t care.”
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'Grippers' by Vanessa Liem
Liem maintains a positive outlook as she furthers her art studies abroad. “Imposter syndrome is real, especially when London’s art network is so established. But the experimental nature of art here inspires me. I may fail, change or morph into many different things, just like the characters I paint. They’re people in their own universe, and the canvas is a glimpse into their day-to-day lives. When people view my paintings, I hope they find introspection—like they’re looking into a mirror.”
