Vincent Leow (b. 1961) is one of Singapore's leading contemporary artists. Celebrated as a l'enfant terrible of
the Singapore art community, Vincent Leow is a pivotal figure in the
alternative art scene in Singapore. His practice parallels the
development of contemporary art in Singapore and as a painter, he is
regarded as a remarkable creative who has dipped into an astonishing
range of influences from popular culture, literature, cinema, politics and
the mass media.
Leow stands as a central figure in the history of the ‘art collective' in Singapore. One of the early members of The Artists Village (TAV), founded in 1988 by the iconic Tang Dawu (b 1943), Leow subsequently helmed other artist-run spaces.
Engaging with a range of media that has
resulted in performances, installations, sculptures, digital and
mixed-media works, Leow's practice has maintained an element of anarchy
and rebellion so critical to alternative practices. He acquired public
notoriety with his 1992 performance in which he drank his own urine. The characteristics of Leow's art include a taste for kitsch and a constant, highly
individual visual vocabulary - prompting art writers to describe his
practice as epitomizing ‘post-modern' visual strategies.
Viewing 18 works by Vincent Leow
Sort
Biography 
Biography
Vincent Leow (b. 1961) is one of Singapore's leading contemporary artists. Celebrated as a l'enfant terrible of the Singapore art community, Vincent Leow is a pivotal figure in the alternative art scene in Singapore. His practice parallels the development of contemporary art in Singapore and as a painter, he is regarded as a remarkable creative who has dipped into an astonishing range of influences from popular culture, literature, cinema, politics and the mass media. Leow stands as a central figure in the history of the ‘art collective' in Singapore. One of the early members of The Artists Village (TAV), founded in 1988 by the iconic Tang Dawu (b 1943), Leow subsequently helmed other artist-run spaces. Co-founding Utopia (now defunct), Leow is also the founder of Plastique Kinetic Worms (PKW) , a leading alternative artist-run space in Singapore. Engaging with a range of media that has manifested in performances, installations, sculptures, digital and mixed-media works, Leow's practice has maintained the element of anarchy and rebellion so critical to alternative practices. He acquired public notoriesty with his 1992 performance in which he drank his own urine. The art gesture was later elaborated upon through the packing and sale of bottles of urine - epitomizing Leow's artful handling of ‘underground, subversive' practices with a savvy understanding of the mechanics of market consumption and its desire for and absorption of infamy, scandal and controversy. His earlier paintings formed the emergence of unapologetic aggression, blatant sexuality and emotional temperament in the field of painting in Singapore. Leow's later paintings assumed several shifts, particularly during and after his art studies in the USA (1991) on several art scholarships. Some of Leow's works in the 1990s were marked by an ‘urban street style' and were arguably Neo-Surrealist; others carried a Pop Art sensibility, taste for kitsch and a highly individual visual vocabulary - prompting art writers to describe his practice as epitomizing ‘post-modern' visual strategies.
Steeped in meaning and conceptual intricacies, the art of Vincent Leow is distinctively revealing in its form. Often containing political allusions or that of social problems and reform, the subjects the artist characterizes ranges from the everyday common man to great figures of influence placed in positions of perspective, inciting the viewer to explore the connotations contained within. Highly influenced by the Pop Art movement and consciously departing from art convention, Leow employs familiar subjects in unfamiliar surroundings, often swerving into a juxtaposition of differential aesthetics, peppered with posterized language and ambivalent patterns. Common household items show up as both visual and cultural characters, often providing subtle directives to the components of what we know as culture, and understand as artistic language.
As skilled on canvas as he is in his sculpture, Vincent Leow’s paintings follow a wide range of expressions. However, whether a cornucopia of colour or bold outlines against stark contrasts, the artist’s divergence from conformity of style is palpable. Discordant brush strokes form the method to his instinctive flow, displaying a spontaneity on canvas that captures both energy and thought. Implicative of his acquired cultural influences, his art forms waver between western appearances but ultimately emerge as distinctively eastern influences. Although prone to bright colours and sudden bursts of patterns and spatial fill, Leow's art is sometimes disarmingly simple or even vacuous in hue. However, it is for the viewer to note that the artist’s conceptualizations are not to be underestimated. Take for example, his ‘Mountian Cow Factory’ series, with its deliberately misspelled title and repetitive images of colourful cows placed in placid landscapes, commented on the cloning of Dolly the Sheep. The triumph of Vincent Leow’s art is hence, not only aesthetic or isolated to the conceptual- but also reflect the groundbreaking manner in which the artist chooses to express his commentary. It leaves a personal and intellectual afterglow in all who choose to pursue his meaning.
In his latest forays, Leow has expanded his societal and political reflections to include the human concept of mortality in his expressions- delving into the meaning of legacy and memory. Using black paint to create detached faces and silhouettes, the artist says, “I wanted to explore the idea of what we still read when everything is blocked out." He goes on to say, "Do we still recognize the face behind? Can the silhouette itself communicate enough of who it is? In a way, I’m exploring the idea of how much we remember when we cover the image itself. Stripping off all the details and leaving out the silhouette, is it enough to communicate the person or the subject itself?”
Awards
2002
JCCI Culture Award
2003
NAC Oversea Arts Bursary
2000
UNESCO-ASCHBERG Bursaries for Artists Yogyakarta, Indonesia
1991
Mount Royal Scholarship, Maryland Institute, Baltimore, USA
1990
Scholarship, Lee Foundation, Singapore
Bursary, Singapore Cultural Arts Grant, Singapore
Mount Royal Scholarship, Maryland Institute, Baltimore, USA
1989
Scholarship, Lee Foundation, Singapore
Bursary, Singapore Cultural Arts Grant, Singapore
1988
Exhibition Grant, Lee Foundation, Singapore
1987
First Prize Award, Sentosa Sculpture Design Competition, Singapore
Collections
Singapore Art Museum,
Singapore Turf Club,
Sentosa Development Corporations,
SingaporeLand Transport Authority Singapore,
UOB Bank Singapore,
Deutsche Bank Singapore,
Fukuoka Art Museum,
National Arts Council
Steeped in meaning and conceptual intricacies, the art of Vincent Leow is distinctively revealing in its form. Often containing political allusions or that of social problems and reform, the subjects the artist characterizes ranges from the everyday common man to great figures of influence placed in positions of perspective, inciting the viewer to explore the connotations contained within. Highly influenced by the Pop Art movement and consciously departing from art convention, Leow employs familiar subjects in unfamiliar surroundings, often swerving into a juxtaposition of differential aesthetics, peppered with posterized language and ambivalent patterns. Common household items show up as both visual and cultural characters, often providing subtle directives to the components of what we know as culture, and understand as artistic language.
As skilled on canvas as he is in his sculpture, Vincent Leow’s paintings follow a wide range of expressions. However, whether a cornucopia of colour or bold outlines against stark contrasts, the artist’s divergence from conformity of style is palpable. Discordant brush strokes form the method to his instinctive flow, displaying a spontaneity on canvas that captures both energy and thought. Implicative of his acquired cultural influences, his art forms waver between western appearances but ultimately emerge as distinctively eastern influences. Although prone to bright colours and sudden bursts of patterns and spatial fill, Leow's art is sometimes disarmingly simple or even vacuous in hue. However, it is for the viewer to note that the artist’s conceptualizations are not to be underestimated. Take for example, his ‘Mountian Cow Factory’ series, with its deliberately misspelled title and repetitive images of colourful cows placed in placid landscapes, commented on the cloning of Dolly the Sheep. The triumph of Vincent Leow’s art is hence, not only aesthetic or isolated to the conceptual- but also reflect the groundbreaking manner in which the artist chooses to express his commentary. It leaves a personal and intellectual afterglow in all who choose to pursue his meaning.
In his latest forays, Leow has expanded his societal and political reflections to include the human concept of mortality in his expressions- delving into the meaning of legacy and memory. Using black paint to create detached faces and silhouettes, the artist says, “I wanted to explore the idea of what we still read when everything is blocked out." He goes on to say, "Do we still recognize the face behind? Can the silhouette itself communicate enough of who it is? In a way, I’m exploring the idea of how much we remember when we cover the image itself. Stripping off all the details and leaving out the silhouette, is it enough to communicate the person or the subject itself?”
Awards
2002
JCCI Culture Award
2003
NAC Oversea Arts Bursary
2000
UNESCO-ASCHBERG Bursaries for Artists Yogyakarta, Indonesia
1991
Mount Royal Scholarship, Maryland Institute, Baltimore, USA
1990
Scholarship, Lee Foundation, Singapore
Bursary, Singapore Cultural Arts Grant, Singapore
Mount Royal Scholarship, Maryland Institute, Baltimore, USA
1989
Scholarship, Lee Foundation, Singapore
Bursary, Singapore Cultural Arts Grant, Singapore
1988
Exhibition Grant, Lee Foundation, Singapore
1987
First Prize Award, Sentosa Sculpture Design Competition, Singapore
Collections
Singapore Art Museum,
Singapore Turf Club,
Sentosa Development Corporations,
SingaporeLand Transport Authority Singapore,
UOB Bank Singapore,
Deutsche Bank Singapore,
Fukuoka Art Museum,
National Arts Council
Exhibitions
Exhibitions
2020
ON/OFF, Jendela (Visual Arts Space), Esplanade, Singapore
2019
Passing, solo exhibition by Vincent Leow, iPreciation, Singapore
2017
From Rochor to Kallang, Children's Biennale, National Gallery of Singapore
2015
No Boundary: An Exhibition Featuring Singaporean Artists, Shanghart, Singapore
2012
Resembling Imaginary Creatures, Chan+Hori Contemporary, Singapore
“Subject Shall Remain Anonymous”, Give Art Space, Singapore
"Not Against Interpretation: Re-staging Jason Lim & Vincent Leow’s A Flog of Birdies in the 21st Century", Singapore Art Museum
2010
Tags and Treats: Work by Vincent Leow, Singapore Art Museum, Singapore
2007
“Andy's pranks and Swimming Lessons”, Xin Beijing Gallery, Beijing, China
“52nd Venice Biennale 2007”, Singapore Pavilion, Venice
“3rd Gui Yang Biennale of Contemporary Art 2007”, GuiYang, China
2006
"PRET A PORTER” Plastique Kinetic Worms, Singapore
2005
"WORLD EXPO 2005 Singapore pavilion, Nagoya, Japan
“Contemporary Self-Portraiture/Reassessing Identity, Institute of Contemporary Arts Singapore, LASALLE-SIA College of the Arts
“ACCESS” Plastique Kinetic Worms, Singapore
2004
“Mock Ducks and Manicured Poodles” Jendela Gallery@Esplande, Singapore
“A Big Fat Belly Hen”, Plastique Kinetic Worms, Singapore
“11th Asian Art Biennale” Osmani Memorial Hall, Bangladesh
2003
“Boxed ll “ Plastique Kinetic Worms, Singapore
“RENGA Paintings” National Art Gallery, Kuala Lumpur, Malaysia
“Bilateral Bonds” TAKSU Gallery, Singapore, Kuala Lumpur, Malaysia
“I'm lovin' it, SeatArt” Merlion Park, Singapore
2002
“Boxed“ Singapore Art Fair, Singapore
“P.A.U.S.E” Gwanju Biennale 2002, Korea
“Show: Auction” Plastique Kinetic Worms, Singapore
“NOKIA Singapore Art” Singapore Art Museum, Singapore
2001
"FOUR EYES, CLOUDY SKIES", Atelier Frank & Lee, Singapore
"FOUR EYES, CLOUDY SKIES", TADU Art Space, Bangkok, Thailand
"Plastic Works" Plastique Kinetic Worms, Singapore
"ParallelWORLD: Body Phase III", Plastique Kinetic Worm, Singapore
"Caged Feet, Time Stall",, Plastique Kinetic Worms, Singapore
2000
“Caged Feet “, LIP, Yogyakarta, Indonesia
1998
"Mountian Cow Milk Factory", Installation Telok Kurau Studios Gallery, Singapore
1997 - 1998
"Mountian Cow Milk Factory", various venues, Singapore
1996
"Falling Bones, Hungry Chillies", Substation Gallery, Singapore
1994
"CHOP SUEY" Substation Gallery, Singapore
1992
"Donkeys, Elephants & The Three Legged Toad", Shenns Gallery, Singapore
1991
"Vincent Leow : Recent Paintings", School 33 Art Centre, Baltimore, MD, USA
ON/OFF, Jendela (Visual Arts Space), Esplanade, Singapore
2019
Passing, solo exhibition by Vincent Leow, iPreciation, Singapore
2017
From Rochor to Kallang, Children's Biennale, National Gallery of Singapore
2015
No Boundary: An Exhibition Featuring Singaporean Artists, Shanghart, Singapore
2012
Resembling Imaginary Creatures, Chan+Hori Contemporary, Singapore
“Subject Shall Remain Anonymous”, Give Art Space, Singapore
"Not Against Interpretation: Re-staging Jason Lim & Vincent Leow’s A Flog of Birdies in the 21st Century", Singapore Art Museum
2010
Tags and Treats: Work by Vincent Leow, Singapore Art Museum, Singapore
2007
“Andy's pranks and Swimming Lessons”, Xin Beijing Gallery, Beijing, China
“52nd Venice Biennale 2007”, Singapore Pavilion, Venice
“3rd Gui Yang Biennale of Contemporary Art 2007”, GuiYang, China
2006
"PRET A PORTER” Plastique Kinetic Worms, Singapore
2005
"WORLD EXPO 2005 Singapore pavilion, Nagoya, Japan
“Contemporary Self-Portraiture/Reassessing Identity, Institute of Contemporary Arts Singapore, LASALLE-SIA College of the Arts
“ACCESS” Plastique Kinetic Worms, Singapore
2004
“Mock Ducks and Manicured Poodles” Jendela Gallery@Esplande, Singapore
“A Big Fat Belly Hen”, Plastique Kinetic Worms, Singapore
“11th Asian Art Biennale” Osmani Memorial Hall, Bangladesh
2003
“Boxed ll “ Plastique Kinetic Worms, Singapore
“RENGA Paintings” National Art Gallery, Kuala Lumpur, Malaysia
“Bilateral Bonds” TAKSU Gallery, Singapore, Kuala Lumpur, Malaysia
“I'm lovin' it, SeatArt” Merlion Park, Singapore
2002
“Boxed“ Singapore Art Fair, Singapore
“P.A.U.S.E” Gwanju Biennale 2002, Korea
“Show: Auction” Plastique Kinetic Worms, Singapore
“NOKIA Singapore Art” Singapore Art Museum, Singapore
2001
"FOUR EYES, CLOUDY SKIES", Atelier Frank & Lee, Singapore
"FOUR EYES, CLOUDY SKIES", TADU Art Space, Bangkok, Thailand
"Plastic Works" Plastique Kinetic Worms, Singapore
"ParallelWORLD: Body Phase III", Plastique Kinetic Worm, Singapore
"Caged Feet, Time Stall",, Plastique Kinetic Worms, Singapore
2000
“Caged Feet “, LIP, Yogyakarta, Indonesia
1998
"Mountian Cow Milk Factory", Installation Telok Kurau Studios Gallery, Singapore
1997 - 1998
"Mountian Cow Milk Factory", various venues, Singapore
1996
"Falling Bones, Hungry Chillies", Substation Gallery, Singapore
1994
"CHOP SUEY" Substation Gallery, Singapore
1992
"Donkeys, Elephants & The Three Legged Toad", Shenns Gallery, Singapore
1991
"Vincent Leow : Recent Paintings", School 33 Art Centre, Baltimore, MD, USA
Stay connected.
Sign up to our newsletter for updates on new arrivals and exhibitions