Some called it “youth disconnect”, while others thought it was a form of political statement.
Whatever it is, the recent vandalism of the Cenotaph, in which a security officer allegedly spray- painted the national monument with the word “democracy” in red with a big “X” under it, has prompted some chatter about forms of public expression.
It follows another high-profile case involving “Sticker Lady” Samantha Lo, who recently pleaded guilty to seven counts of mischief for spray-painting and pasting slogans around Singapore.
While the state has exercised its power by charging them, ground-up initiatives have emerged to promote graffiti as an art form beyond vandalism.
One such programme, starting in September, by Electric Youth CoNNecTs, a training centre started by the Singapore Street Festival, was announced by Senior Minister of State for Law and Education Indranee Rajah recently.
Insight speaks to actress and Nominated Member of Parliament Janice Koh, 39, about the grey area delineating vandalism and street art, and the different ways in which governments – and the wider society – respond to it.
- Why do you think we are seeing more incidents of people taking to street art to express themselves?
I see the incident of Sticker Lady and the defacement of the Cenotaph as separate, one-off cases which I wouldn’t generalise as a growing trend right now.
But there certainly is a sense that our population is growing more vocal in expressing its views and its differing opinions on government policies.
I feel we need to seriously think about opening up spaces for alternative views. Otherwise, those who feel disenfranchised will be driven underground, and some may find more deviant means of expression.
- Is there an easy way to address this?
One way is for Government to look at relaxing its hold across various platforms – such as art, film and traditional media – so that Singaporeans can openly voice their disagreement, or feel that their opinions, which may differ from the status quo, can be heard or represented through different channels.
- These acts seem to make political statements – how effective are they?
I would not group street artist Samantha Lo and the Cenotaph vandal in the same category even though, on paper, both may have run afoul of the law.
Street artists are artists in their own right. The modern street art movement today, pioneered by well-known street artists like Banksy and Shepard Fairey, is not simply about using spray paint to tag, write names or mark territory.
There is thoughtful and sophisticated use of different mediums, like stencils, stickers, wheat paste and installation. They can be very skilfully and artistically done, and some are very beautiful.
Street artists make a statement by communicating with the wider public through their work in the urban environment.
These often touch on social and political themes and the man in the street is encouraged to stop, think and question.
Vandals, however, are out to make mischief and destroy public property for its own sake.
While both acts may come from the same point of resistance, vandals express this crudely and often with little consideration for location and context.
- So a distinction between the two can – and should – be made?
I think so, although there will be grey areas.
When I was in Melbourne recently, I went on a guided tour of the city’s famous street art. My guide explained that even among local street artists, they observe some unspoken rules, such as trying not to tag or spray-paint over one another’s work. And some places, such as churches, are treated as off-limits.
The work of some of the more internationally renowned street artists has become increasingly valuable among art collectors.
Ironically, some cut their teeth painting graffiti illegally on subway trains and tunnels. So you could argue they started out as vandals too, before their distinct aesthetic style became recognised and grew into an art movement. It’s not black and white.
- Some say the Cenotaph vandalism reflects a “growing disconnect” between the younger generation and our history.
I would be hesitant to over-simplify it as a youth disconnect issue, although it would not be a bad thing to increase heritage awareness and appreciation among students through education.
- What do you make of the new programme on street art?
I would say street art can be successfully done on commissioned walls or permitted spaces.
There are successful examples: The Wynwood Walls in Miami, which belong to warehouse buildings, commissioned the best street artists and has become a must-see tourist destination.
Likewise, the commissioned street murals by Lithuanian artist Ernest Zacharevic for the 2012 Georgetown Festival in Penang were a huge visual treat and projected a great image of Penang as a thriving cultural and heritage town. Commissioned street art can be very successful.
- How can we balance giving citizens a space to express themselves in public and the need to respect public property?
Street art in many parts of the world still sits on that uneasy line between artistic expression and vandalism, and the debate goes on even in cities like Melbourne and London, where street art is thriving.
While street art can rejuvenate and enliven a city space, indiscriminate, low-brow tagging and spray-painting can make a neighbourhood seem uncared for, depress property values and be a
real blight. Cleaning up also presents an expensive problem for governments, which have to do so at taxpayers’ expense.
Still, we need to ask ourselves if we should take the same blanket approach to apprehend all those who draw on public property – whether it’s the guy who vandalised the Cenotaph, street artist Sticker Lady or loansharks.
In other cosmopolitan cities, they may not necessarily be viewed as the same. And while many states have tough vandalism laws, enforcement officers sometimes turn a blind eye or adopt a light touch when it comes to arresting street artists.
Local residents also sometimes stand up for the artwork they like, and fight to keep it on their city walls. Perhaps it is accepted that they can’t have the good without some of the bad. Are we prepared to do the same?
- How else can the wider community harness this underground creativity?
Perhaps we can start with more commissioned walls, which can bring colour and character to our cityscape.
If we are seeing more street art programmes, then these should go hand in hand with identifying more legal walls for artists to showcase their work.
This may involve educating property owners, government agencies and developers on how to commission murals and work with artists.
Otherwise, where do we expect our street artists to express themselves?
