You may have seen them on your morning coffee run or perhaps during your commute to work. Vibrant, nostalgic, and poignant even, these gorgeous art murals, which adorn the walls of many heritage neighbourhoods — the likes of Chinatown, Little India, and Arab Street — conjure up images of sunny Singapore, albeit in her yesteryears.

The art murals by 53-year-old Singaporean artist Yip Yew Chong easily tug at the heartstrings of locals, who have lived through these wonderfully captured scenes. To see them in person is akin to taking a trip down memory lane or revisiting their childhood. 

Yew Chong, who was a former accountant, painted his first mural in 2015. Three years on, he decided to leave his full-time employment to pursue art. His portfolio today entails an impressive assortment of art murals, sketches, and even canvas drawings.

Capturing still, oft-forgotten moments in life, Yew Chong’s creations urge viewers to appreciate the present. As part of our Love x Heritage series, SNCF interviewed Yew Chong on why heritage matters and how his art inspires others to preserve cultures and heritage.

Sng Ler Jun: How did you get acquainted with murals?

Yip Yew Chong: I painted murals way back in secondary school. I recall painting on the school’s swimming pool as well as stage backdrops for events. In 2015, I got inspired to paint my first street mural after spotting many murals had popped up all over Singapore.

LJ: When you start a piece, where do you begin?

YC: The first step always entails a discussion with the commissioning party on the objective and desired theme of the mural. I then visit the site to assess how best to fit the theme onto the wall and its precinct environment. After that, rounds of research eventually culminate in a rough sketch of the design on paper or computer.

LJ: From Tiong Bahru to Little India, Chinatown to Arab Street, your works have graced the walls in many heritage neighbourhoods. Among all the pieces you have created, which piece was the most sentimental?

YC: My favorite mural is “My Chinatown Home” at 30 Smith Street in Chinatown because it depicts the interior of my childhood home in Chinatown.

LJ: When did you first feel comfortable telling others you are a professional mural artist?

YC: Actually, I have never considered myself a professional mural artist. I prefer sticking to the simple term: ‘Artist’. It’s general and more relatable to me. And also, because I don’t just do murals. I also work on canvases and create sketches, more than just murals nowadays. I don’t think the word ‘professional’ suits me too. This is partly because I don’t have formal art training and have taught myself through practice and exploration. I’d like to think that every artist or craftsman does his best in whatever comes his way.  

LJ: You have accrued an interesting and expansive portfolio of artworks (the likes of backdrop paintings and other intricate sketches) under your belt, but why focus on making murals on Singapore’s heritage?

YC: My focus now is not entirely placed on murals. In fact, I try to do fewer murals, and even if I do, I am very selective. Too many of the same things are never good; I feel that I have already done too many murals in Singapore. That said, I am open to overseas collaborations, if the opportunities appear.

My focus now is on developing my canvas works. I am currently working on a few canvas series — a 50m long canvas painting depicting Singapore in the 70s and 80s. And a World series, depicting the places around the world I have been. Regarding sketches on paper, digital art and installations — those are exploratory things I will continue dabbling with. 

LJ: What does documenting heritage through art mean to you?

YC: To me, it means presenting heritage (bygone or existing) onto another format that can help promote interest in the heritage subject. The alternative format may attract better attention from people who are not well exposed to it, thereby making them more interested.

Once their interests are roused, I’d like to think that they will start caring or do their own part to conserve the heritage further. When I painted the Cantonese opera mural, it attracted the attention of young people or foreigners, who have never seen opera. That nudged them on to find out more about it on their own, with some heading out to watch a real opera.

LJ: What do you hope to achieve with your mural pieces around the island?

YC: I hope the murals will serve the many objectives while they are still around, from bringing joy to those who see them to educating the public. I hope these murals will help encourage more to preserve and care for our local heritage, all while promoting certain cultures, advocating for mental wellness, and even beautifying and re-energising places.

At the heart of it all, the art murals are meant to tell stories and connect communities. When I see all these happening, I feel happy.

All Images Courtesy of Yip Yew Chong | By Sng Ler Jun