Semi-abstract painter Boo Sze Yang, one of Singapore's most recognized contemporary artists, is approaching his 60th birthday on October 2nd with no regrets about his decision not to have children. The accomplished artist, known for his distinctive greyscale works featuring derelict interiors and crash wreckages, recently shared intimate details about his life choices and artistic journey in celebration of Singapore's SG60 initiative.
Boo's artistic career spans over three decades since graduating from Nanyang Academy of Fine Arts (NAFA) in 1991. His works, often described as carrying a certain desolation, are characterized by segmented and melting forms that explore darker beauty through empty cathedrals, abandoned shopping centers, and vehicular wreckage scenes. These pieces have earned him recognition both locally and internationally, with his art now housed in prestigious collections including the National Gallery Singapore, the Istana, and UOB Singapore.
The artist's teaching career has been equally impressive, having served at NAFA, the National Institute of Education, and the School of the Arts. His international presence is evidenced by more than 18 solo exhibitions held across Singapore, Taiwan, Australia, and the United States. Currently, Boo continues to innovate with his latest series "Romance On Hobby Horses," which features repeating figures in synchronized dance movements and reimagines popular images of protest and societal unrest through more vibrant, neon-toned paintings.
Reflecting on his childhood, Boo shared memories of being born in his grandparents' house on what is now Greenwood Avenue in Bukit Timah. His early years were spent in a kampung near Watten Estate before his family moved to a one-room flat on the 10th floor of a Toa Payoh Lorong 1 block in 1972 when he started primary school. These formative experiences of looking down from great heights and waiting by the kitchen window with his brother to spot their welder father's uniquely modified pickup truck deeply influenced his perspective on modern Singapore.
"That was, in a way, the beginning of my experience of modern Singapore," Boo explained, recalling the long corridors where children played football with neighbors and the excitement of waiting for street vendors selling fried bananas and sweet potatoes. He nostalgically remembers the karung guni (rag-and-bone man) making his rounds and shouting in Hokkien, "Got old things to sell?" These memories represent a Singapore of imagination, risk, and freedom that he feels has largely disappeared.
Regarding his contribution to Singapore, Boo maintains a humble perspective, stating that he doesn't consciously think about contributions when making decisions. "Like many others, I try to educate myself, stay healthy, do the right thing and live an honest life. That, to me, is how every citizen contributes to his country," he reflected. Originally intending to study design and work in advertising as a creative art director, he found his calling in fine art, which helped him find meaning in life and view art as a mirror reflecting the world we inhabit.
Boo appreciates Singapore's world-class healthcare system, universities, efficient transport, clean streets, and high safety levels, acknowledging the country's incredible convenience and corporate-like governance that rewards those who perform well. However, he also identifies areas of concern, particularly the predictability that comes with such efficiency and organization. He notes that Singapore's reputation as a shopping paradise is undermined by malls featuring similar tenants selling identical products, reflecting a societal desire for sameness that extends beyond urban landscape into mindset.
"What I find lacking is space – not just physical space, but emotional and creative space. Space for people to slow down, to reflect, to express themselves freely and, most importantly, to dare to be different," Boo observed. He misses the childhood activities of catching spiders, shooting lizards with paper bullets using rubber bands, and playing football in void decks, lamenting that modern public housing prioritizes privacy over the shared spaces and open corridors that once fostered community interaction.
At 60, Boo finds particular satisfaction in his decision to remain childless. He and his wife deliberately chose not to have children, and he describes this as one of the best aspects of reaching this milestone age. "I often tell her that the best part of not having kids, apart from the freedom, is that we never really grow old in the same way others do. We stay psychologically suspended as husband and wife, as someone's son or daughter," he explained. Without children, there are no yearly reminders of aging through watching offspring grow and develop.
Looking toward Singapore's future under the SG60 theme "Building Our Singapore Together," Boo envisions a more mature, considerate society that values people not just for their productivity but for who they truly are. As for his own future, he acknowledges the unpredictable and insecure nature of an artist's life compared to typical corporate careers with clear advancement paths and financial rewards.
"The life of an artist is unpredictable and insecure, unlike a typical job in a corporation, where you're rewarded for your effort and there are clear paths for advancement. Being an artist means building your own path, often with limited financial reward and the possibility that your efforts may go unrecognized," Boo reflected. He has learned to manage expectations and accept that public appreciation may not always reflect the effort invested in his work, approaching his art like the painting process itself – keeping an open mind, allowing work to evolve naturally, and hoping the outcome will surprise him.
