Lai Yu Tong is an artist from Singapore who works across drawing, image-making, sculpture and sound. His practice is interested in creating adequate media to articulate the present, believing in the intrinsic need for humans to make images and tell stories. Recent works of his consider how art can evoke empathy in a world so damaged.

Lai has presented his work at group exhibitions in Singapore and abroad, most recently at Twin Gallery Laundry (US), Radio28 (MX), and Plague Space (RUS); and held solo exhibitions in Singapore at ShanghART Gallery (2025), Temporary Unit (2022), The Substation (2021), Comma Space (2020), and DECK (2019).

Besides his art, Lai regularly publishes books under Thumb Books, a self-founded press that makes children’s books for both children and adults. His recent curatorial projects include Frida, an exhibition platform by his kitchen window; and Robin, a series of group exhibitions held in camping tents around Singapore.

Can you tell us about your background and how you started your artistic journey?

I was one of those kids who drew a lot. I didn’t talk much and spent a lot of time visiting parks and nature reserves in Singapore in my childhood. I went to art school and developed an interest in photography and media art which I guess is what I am formally trained in. After finishing school, serving in the army, then going back to art school for my degree, I stopped using cameras and computers much and moved on to sculpture and drawing.

What are the main themes or concepts you explore in your work?

I see my job as an artist as being someone who makes images and media to describe this time and place that I live in, much like how people in the past made drawings of their lives on cave walls. I try to make images that are necessary or adequate today, about living and dying, about cities, about the animals and about the world.

How has your artistic style evolved over time?

I think for me it is constantly evolving and always kind of chaotic. I tend not to stick to mediums, styles and techniques for too long as I am interested in learning new ways to make art constantly and to create works that are made whilst I’m in the process of learning. I also try to surprise myself and the audience by going in directions that are unpredictable and challenging to me each time I start a new work. A big change for me in the past 10 years was to use computers, screens and technology less and to devote myself to a more analog, low-tech, studio-based practice.

What challenges have you faced as an artist, and how have you overcome them?

I live my life with a lot of fear. Possibly because of my upbringing, coupled with the fact that I lived my entire life in Singapore, a very controlled country teeming with anxiety and micro-aggressions. Recently, what I fear the most is that I will slowly lose my mind. I fear a lot that the very thing that I love, making these silly things in my studio, will unearth too much trauma and inner rage that it will eventually cause me to self-destruct. Besides this, I used to deal with a lot of self-doubt and a lack of confidence. I try to manage these fears everyday by focusing on love and being grateful for being alive and being loved by others.

How do you manage feedback or criticism, especially in the context of public exhibitions?

I welcome criticism and feedback as it doesn’t affect me much anymore. I think I have realized that whether the audience likes it or not, these are the things that I make generally outside of my own control. In the sense that I have no choice but to make them exactly this way at this time. All my cards are on the table, so I know there is nothing much I can do. I also like to listen to what people tell me I should do, so that I can do the exact opposite. An artist I really like recently told me: don’t give the people what they want.

What projects are you currently working on, and what can we expect from you in the future?

I’m working on two new art books that I will publish under my press, Thumb Books. They are my works presented as unorthodox children’s books. I am also excited to be presenting a piece that I made for the Esplanade Tunnel in Singapore, and to work on a solo show at an art space in Seoul, YPC Space. I hope to be making more books alongside my practice so that I can bring them around the art book fairs around the world as I really like this format of sharing and distributing my works.

Text & photo courtesy of Lai Yu Tong

Website: https://laiyutong.com/
Instagram: https://www.instagram.com/laiyutong_things/