In the vibrant tapestry of Singapore’s cultural heritage, tradition weaves itself seamlessly into the fabric of modernity. For every star-studded restaurant offering mind-blowing gastronomical adventures, you’ll find rows of hawker stalls with endless queues and promises of nostalgia. The art scene on our little red dot is no stranger to tradition either. Amidst the glittery, new art galleries and infinite trends on social media, there are artists and craftsmen who are diligently trying to save traditional crafts from dying out. These guardians of tradition are not only masters of their respective arts but also storytellers, preserving historical narratives about our shared cultures that might otherwise fade into obscurity.
In this article, we delve into the lives and works of four remarkable Singaporean artists, each representing a distinct form of traditional art. From the intricate rattan weavings that whisper tales of craftsmanship to the effigies that embody spiritual and historical legacies, and from the delicate stitches of embroidered narratives to the vibrant expressions of folk art, these four artists stand as pillars of continuity in a rapidly evolving world.
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Ng Si Ying
Rattan Weaver
Ng Si Ying's journey began with an apprenticeship with an elderly couple who specialised in restoring rattan chairs. From this humble start, she discovered a deep fascination with the material beyond its conventional use in furniture. Reflecting on her early days, Si Ying explains, "I wondered about its function, and if it was something that could be pushed."
Si Ying's approach blends inherited techniques with personal exploration. While she acknowledges the rich history of weaving and basketry, she sees rattan as a medium for boundless experimentation. "I see rattan weaving as research, and an avenue for me to explore anything and everything, which means I get to explore different techniques that I think are intriguing and make things that I want without constraints," she shares.
Despite lacking formal training, Si Ying embraces her learning journey as an organic accumulation of experiences and insights from diverse sources. For her, preserving tradition involves not just replicating old practices but redefining their relevance in contemporary contexts. "I hope to keep [rattan weaving] alive by exploring how rattan can be used today," she says, viewing it as a dynamic material adaptable to modern needs. Some of Si Ying’s works include intricate woven jewellery pieces, snug “jackets” for handmade pottery and umbrella handles, and even rattan cases for AirPods.
Si Ying finds fulfilment in the limitless possibilities rattan weaving offers, describing it as a journey of continuous learning and growth. However, challenges persist, such as the scarcity of mentors and structured learning opportunities. Yet, these obstacles have spurred her to seek knowledge beyond Singapore, through short apprenticeships with seasoned masters, shaping her distinctive approach to the craft.
Looking ahead, Si Ying remains focused on her exploratory journey with rattan, hoping to spark new dialogues and initiatives that elevate its cultural significance. Her advice to aspiring weavers is simple yet profound: persevere and seek learning opportunities wherever possible, fostering a community of shared knowledge and innovation.
Check out Si Ying’s work here.
Heath Yeo
Kebaya Maker and Embroiderer
Heath Yeo only found the love for his craft much later in his journey. He had passed on an opportunity to learn Peranakan embroidery in the 90s as he thought the craft “too traditional”. It wasn't until later in his career, witnessing the decline of manual embroidery practices, that his interest piqued. Reflecting on the gradual change in his outlook, Heath notes, "The interest started to grow when I saw [embroidery] beyond it being 'too traditional' but as a symbol of our heritage that was fast diminishing.”
Heath’s craft requires intricate coordination of hand, foot, and eye movements – a challenge he embraced under the tutelage of a seasoned craftsperson, as formal education in Peranakan embroidery is scarce. While modernisation introduced electric sewing machines for efficiency, Heath maintains a reverence for the delicacy achieved through manual techniques. Now, he strives to blend tradition with contemporary trends. "To meet the trend is to stay rooted and reinvent with new designs to create interest in the beauty of traditional skills," he explains.
He expresses this philosophy in every stitch, infusing each with imagery from everyday life – think motifs inspired by iconic buildings around Singapore or modern-day takes on traditional Peranakan patterns.
For Heath, preserving traditional crafts like Peranakan embroidery is crucial for safeguarding cultural heritage in an ever-changing world. "This form of art is part of our cultural heritage," he emphasises, "telling a story of our past and how we have evolved as a society." He envisions a continued role for embroidery, feeling only excitement about exploring new applications beyond traditional garments. His journey embodies a dedication to innovation while honouring the legacy of Peranakan embroidery, ensuring its enduring relevance in Southeast Asian culture.
Heath’s recent work, a beautiful kebaya-inspired blouse, adorned with embroidery lines tracing an impression of the former St. Joseph’s Institution (or Singapore Art Museum), is currently on display at The Peranakan Museum.
Swati Palekar
Indian Folk Artist
Swati Palekar's exploration into Indian folk art began with a rediscovery of her childhood passion, nurtured by her artist mother. Initially pursuing a career in finance and accounting, her fascination with Indian folk art, particularly the “madhubani” style of painting, was sparked in 2012 when she encountered a strikingly intricate artwork. Drawn to its stylised motifs and vibrant hues depicting flora, fauna, and mythological themes, she immersed herself in studying the art form.
Swati is now well versed in a number of Indian folk art forms like “madhubani”, “pattachitra”, “gond”, “kalamkari”, and more. Her practice revolves around mastering intricate techniques, utilising natural pigments, handmade paper, and traditional brushes made from natural fibres. Despite the lack of formal training opportunities in Singapore, she undertook extensive self-study, delving into books, articles, and learning from photographs of master artists' works. This dedication not only honed her technical skills but also deepened her cultural understanding and appreciation for the symbolism embedded in each art form. “I consider myself a lifelong student and would love to learn from various master artists from the local region who have kept the art form alive for generations,” she shares.
Swati incorporates modern mediums like acrylics and experiments with diverse canvases, from fabric to metal, to make folk art accessible and relevant to contemporary audiences. She infuses her artwork with personal interpretations while respecting the traditional motifs and cultural significance inherent in each art form. She finds joy in the meditative process of creating intricate patterns and in sharing her knowledge through teaching. “Painting is my happy place. It has given me a unique opportunity to connect with the community and generate a sense of curiosity for these fading art forms,” she adds.
Swati acknowledges the challenges facing traditional art forms in the digital age but remains optimistic about their future. Through her art and workshops, Swati aims to ignite curiosity, awareness, and appreciation for these cultural treasures. Swati conducts classes for adults and children at her studio at the Goodman Art Centre (Block B, #03-16). Her workshops are usually carried out in small groups and dive deep into each form of folk art. Participants learn the basic of the art form and have the opportunity to create their own folk artwork in the 2-3 hour class.
Follow Swati @swayamfolkartpainting or here for more information about her latest classes.
Ng Tze Yong
Effigy Maker
Ng Tze Yong, a fourth-generation apprentice at Say Tian Hng Buddha Shop in Singapore, has inherited a deep-rooted family legacy dating back to 1896. Raised amidst the shop's daily rhythms, it was only during his overseas studies and later at Parsons in New York that Tze Yong began to appreciate the cultural significance embedded in effigy making. His capstone project, focusing on revitalising the shop, sparked a transformative journey that led back to effigy making.
At Say Tian Hng Buddha Shop, Tze Yong specialises in thread sculpture, known as 漆线 or "painting lines", a delicate art form involving intricate motifs like dragons and pavilions crafted from joss stick ashes. Despite the shop's historical significance, he acknowledges the challenges in preserving these ancient skills, which are traditionally passed down through familial apprenticeships rather than formal training.
Tze Yong's commitment to preserving tradition while adapting to modern demands is evident in his approach. He emphasises the importance of understanding foundational skills before introducing any innovations, ensuring the essence of the craft remains intact. His personal touch lies in sharing the narratives and values infused into these effigies with as many people as possible. “Craft allows one to create beauty and meaning and share it with someone else via the object you create. So as a craftsman, when that becomes the core of your work, identity and purpose, it feels different from other occupations, where the focus may be on creating more tangible outputs,” he says.
Tze Yong recognizes the pressing need to secure the future of traditional crafts by addressing challenges like manpower shortages and adapting to changing market dynamics. “I think the soul of a society lives on via its traditional crafts,” he believes. Nevertheless, he sees potential in effigy-making's enduring demand driven by religious and cultural practices. Through his efforts, he hopes for Say Tian Hng Buddha Shop to thrive as a custodian of cultural heritage in a rapidly evolving world.
Drop by Say Tian Hng Buddha Shop at 35 Neil Road to take a look at one of Ng Tze Yong’s creations. The store also conducts tours for adults and workshops for children. Follow @saytianhng for more information on their offerings.
