Twentieth-century modern(ist) art in Singapore was largely centered on defining the 'local' and shaping a unique indigenous identity by incorporating aesthetic elements that symbolized the nation and its region, this includes a range of landscapes, such as fishing villages, rural kampungs, cityscapes, river scenes like the Singapore River, and depictions of mosques and temples. Still-life compositions often showcase local fruits, seafood, and household objects, while genre scenes capture festivals, rituals, various occupations, and leisure activities. These themes persist in contemporary art, though often as overused clichés. Notably, it was the Nanyang artists who first introduced and shaped these subjects in their pictorial representations.

One of the defining movements in modernist Singaporean art was the Nanyang Style or Nanyang period, often used interchangeably, which took shape in the 1950s under the leadership of artists from the Nanyang Academy of Fine Arts. The word "Nanyang," which translates to "South Seas," was historically used by the Chinese to describe the Southeast Asian region. These artists commonly known as the Nanyang artists, combined diverse artistic influences from their formal training—ranging from Chinese and East Asian art to the stylistic approaches of the School of Paris—resulting in a distinctive visual language that encapsulated Singapore’s cultural identity.

A Straits Times article titled, ‘Art and Artists’ expands upon this, influences from China were particularly from the southern cities of Shanghai, Nanjing and Guangdong, where the modern, experimental movements in the visual arts were the most active. The School of Paris on the other hand, does not refer to an institution of learning. It is a critical term referring to a number of styles and techniques — related particularly to painting produced by artists in Paris between 1890 and 1910. The School of Paris was not the creation of Indigenous Parisians alone. Artists from other countries contributed towards its formation. Styles such as Impressionism, Post Impressioпism (Gauguin, van Gogh), Fauvism (Matisse) and Cubism (Picasso, Braque) are gathered under this umbrella term.  These styles manifest the new modern status of the artist, and a fresh purpose for art activity.

The Abacus Art collection features Gibbon by Chen Wen Hsi and Still Life by Georgette Chen, both of whom were key figures in the Nanyang movement. Born in Guangdong, China, in 1906, Chen Wen Hsi received training in both Chinese ink painting and Western oil painting. After moving to Singapore in the late 1940s, he became a prominent educator, teaching at the Nanyang Academy of Fine Arts and several Chinese middle schools during the 1950s, where he influenced many aspiring artists. He continued to shape Singapore’s art scene until his passing in 1991. Among his most recognizable works are his ink paintings of gibbons, a subject he frequently revisited. Shidah writes in Plural Art Mag on the exhibition, ‘Appreciating the Art of Dr. Chen Wen Hsi’  at Merlin Gallery, ‘Gibbons have traditionally been held in high regard in ancient Chinese culture, their depictions found in both literature and art. Not only were gibbons regarded as noble, but their haunting calls also came to stand for the melancholy felt by travellers longing for home. This association would have resonated well with Chen Wen Hsi, himself a sojourner long away from home’.

Georgette Chen Li Ying, born in China in 1906, pursued her art education in Paris, New York, and Shanghai. Her body of work is often categorized into three distinct phases: the French Period (1927–1933), the China-Hong Kong Period (1934–1948), and the Penang-Singapore Period (1949–1980). Deeply influenced by her surroundings, she created still lifes, portraits, and landscapes reflecting each stage of her artistic journey. After settling in Singapore in 1954, she taught at the Nanyang Academy of Fine Arts until her retirement in 1980. Her painting Still Life exemplifies her use of dynamic brushstrokes and bold, heavy tones, which convey a sense of volume and texture with expressive energy.

During the late 19th and early 20th centuries, colonial rule across Southeast Asia led to the founding of fine art academies in various regions. In Vietnam, there was a strong push for the population to engage with and assimilate Western artistic traditions, driven by the belief that cultural adaptation could play a role in reclaiming national sovereignty—particularly after multiple unsuccessful revolts against French rule.

At the Ecole des Beaux-Arts d’Indochine, training in lacquer art was compulsory, and those who excelled in this medium pushed the boundaries of an ancient Vietnamese craft. Similar to how the Impressionists in France revolutionized painting, these artists reimagined and revitalized lacquer techniques. The peak of Vietnamese lacquer art represents a remarkable fusion of both French and Vietnamese artistic approaches, capturing the beauty of Vietnam’s landscapes, villages, and family life with sophisticated, evocative imagery.

Artist Hoàng Tích Chù after his training at the École des Beaux-Arts de l’Indochine, despite the presence of three existing lacquer studios in the city, he still chose to open his own studio on Hàng Khoai Street. In doing so, he joined the ranks of great lacquer masters such as Phạm Hậu, Nguyễn Gia Trí, and Nguyễn Văn Ty in advancing the art form.  In his work, Hoàng Tích Chù focused on conveying his deep attachment to nature and Vietnamese culture. He was also part of the nationalist movement of his time. In 1945, he fought against the French presence in Vietnam and actively campaigned for the Vietminh. After a brief period spent in prison, he taught lacquer painting at the Vietnam College of Fine Arts and eventually became the director of the Hanoi Institute of Applied Arts.

The Ecole des Beaux-Arts d’Indochine, unwittingly trained the major artists of the Vietnamese revolution. The aesthetics and techniques so passionately and painstakingly imparted and learnt at the school were turned against the colonial regime during the First Indochina War (1946–1954) and played a role in and celebrated the end of France’s imperial adventure. Both the French colonialists and the Vietnamese revolutionaries recruited artists to their respective missions and manipulated aesthetics to serve ideological ends.

In Indonesia the PERSAGI Group, though they had no binding style linking the individual artists, they were all in search of a new art that was both distinctively national and intensely individual. Instead of the usual ‘picturesque and saccharine subjects’ the young artists were going to portray factories, farmers, automobiles and asphalt. Founder of PERSAGI, Soedjojono opened a new chapter in modern Indonesian painting. As an important innovator he rid himself of old influences and saw as his task the dissemination of the new Indonesian culture among the people.

Among the many artists who navigated these socio-political shifts, some, like Pacita Abad, expanded the discourse of modern Southeast Asian art through transnational perspectives and material experimentation. She was born in 1946 in Batanes in the Philippines. Her journey began during her undergraduate studies in the United States. An avid traveller, Pacita explored diverse cultures in countries such as Guatemala, Mexico, India, Afghanistan, Yemen, Sudan, Mali, Papua New Guinea, Cambodia, and Indonesia. These experiences significantly contributed to her artistic trajectory in materials and narratives. Her practice is largely pluralistic encompassing vibrant colours, experimentation, cloth, metal, paper pulp and more. She also painted Singapore's 55-meter-long Alkaff Bridge, adorning it with 2,350 vibrant multicolored circles, just months before her passing. Her work was featured in a posthumous exhibition for the very first time at the 2024 60th Venice Biennale, showcasing her creative legacy. Her work, though deeply rooted in Filipino identity, transcended borders, reflecting a broader engagement with elements that resonate across the region’s evolving artistic landscape.

As contemporary art gained momentum in Southeast Asia, many artists began to move beyond traditional painting, embracing diverse mediums such as installation, performance, video, and digital art. This shift allowed for a more experimental and interdisciplinary approach. AbacusArt identifies Southeast Asian art as standing at the intersection of tradition and innovation, constantly redefining itself through new mediums and interdisciplinary approaches. While artists continue to push boundaries and engage with urgent social and political themes, their works remain deeply rooted in the cultural histories that shape the region. This ever-evolving artistic landscape not only enriches the global art scene but also serves as a powerful testament to Southeast Asia’s resilience in an increasingly interconnected world.