Vincent Leow

Eating Bananas , 2003
Acrylic on Paper, 77 x 57 cm

USD 3,300

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About the artwork

As skilled on canvas as he is in his sculpture, Vincent Leow’s paintings follow a wide range of expression. However, whether a cornucopia of colour or bold outlines against stark contrasts. The artist’s stray 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 often waver between western appearance but ultimately emerges as distinctively eastern influences- a person touch to an art form largely dominated by the West. Although prone to bright colours and sudden bursts of pattern and spatial fill, Leows art is sometimes disarmingly simple or even vacuous in hue.

About the artist

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.

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