How Creatives Live In Singapore: Artist Faris Heizer
What’s it really like to be a working artist in Singapore? We speak to Faris Heizer about the realities of building a career in the local art scene.
Painter Faris Heizer has made a name for himself in recent years with his evocative portrayals of everyday life – think people caught in a moment of being by themselves, eating, relaxing, travelling on public transport or hanging out with friends. Underlying it all is a hazy air of melancholia, loneliness and a certain sense of having to play at being a grown‑up – you could say his works are a deft reflection of contemporary society. Small wonder, then, that the 27‑year‑old’s work has been finding resonance in many quarters – he has already had several solo shows both here and abroad, and is often earmarked as a name to watch. This Gen Z painter gets real with us about the realities of a career in the arts, adulting, and the local arts scene.
While Faris is arguably one of the most prominent artists of his age (having had six solo shows in Singapore and abroad under his belt), the reality of being an artist means that he lives on a salary that’s unpredictable. On good years (he defines this as the years where he has solo shows), it’s more than $3,000 a month; less on other years. Still, he says he wouldn’t give up his craft for anything – here, he’s pictured in his studio, which he shares with two other artists.
So Faris, tell us your backstory – what first drew you to art?
“As a kid, I used to copy my older brother’s graffiti drawings and sometimes sold them to my classmates. I continued drawing until secondary three, when we had to choose an elective subject – I naturally chose art. From then on, I learnt and refined the basics of realism and fundamentals, and just decided to pursue it further because I finally felt like I was decent at something.”
How did you first find your way into figurative painting?
“I think it just makes a lot of sense to me because I get inspired by everyday scenes, and it directly translates into figurative subjects. It’s how I express certain emotions visually.”
The white-collar figure is a constant motif in your work. Why the fascination with this particular figure?
“I feel like the white‑collar worker acts as a vessel for how I think we Singaporeans are; when I look at them, I get a sense of uncertainty, lethargy, and sometimes fidgetiness.”
A peak into his sketchbook.
What’s a goal you hold for your work?
“I want to be more fluent with my visual language – to be more subtle and clever with my brushwork, and to add more layers and details when conveying humanness.”
What does a typical day in your life look like?
“I’m in a bit of a slump at the moment, so I tend to come into the studio around 1 to 3pm and I usually head home at around 10pm, six or seven days a week. I usually chill for a bit in the studio, take time to look at my works and plan what to do. Then I procrastinate, play on my phone or iPad … and eventually start painting.”
What are the biggest pressures to being a full-time artist in Singapore right now?
“Definitely money – rent and bills, especially. And sometimes, artists make works that are hard to sell, which is natural. I believe we need to make ‘bad’ works to get them out of our systems. Hopefully, the better works are well liked and appreciated – maybe even bought!”
How have economic realities influenced the way you live and work today?
“I’ll probably have to get a part‑time job really soon. Nothing has changed drastically yet, since I’m lucky enough to share my studio rent with friends. But even when I started painting full‑time in 2020, things were already expensive.”
How much do you earn on average every month these days?
“In the years when I have solo exhibitions, I make more than $3,000 a month on average. This year, not as much.”
How much do you spend on average per month? Give us a rough breakdown of your monthly expenditure pie.
“It’s probably around $1,500 per month or less – I spend about $500 on rent, $100 on gym, $150 on transport, $300 on food, $100 on miscellaneous things and $60 to $100 on materials for my practice.”
His workstation comprising of; used paint brushes, paint splatters, and other art tools.
And how much do you save a month? What are you saving for?
“I don’t save on a monthly basis, since I don’t get paid regularly. But when I do get paid, I try to set aside a third of it. At the moment, I’m definitely saving to get a house with my partner Aisha (Rosli, a fellow painter) – and for marriage.”
What’s an expense you never knew you needed until you were old/adult enough?
“Insurance. I don’t like the idea of it, but I understand that I have to have it. I used to think it was dumb to pay for something that might not even happen.”
And is there an expense you know you should quit, but are struggling to?
“Action figures. It’s like I’m healing my inner kid. I grew up wanting so many toys, but couldn’t have them – I have two brothers close in age, so it was tough for my parents to spend on our wants when there were more urgent necessities.”
What was your first real adulting moment?
“Signing the lease for my first studio (shared) space. This was in 2020 when I still had about two months left in national service. I told myself I wanted to give full‑time painting a shot for six months – and even if I didn’t sell anything, I’d keep painting while working part‑time. It’s been about five years now. I probably need to get an additional job soon, though, as I’m barely able to save anything at the moment.”
How has your idea of success evolved – from when you were just starting out to now?
“At first, I just wanted to make 100 works – I thought that if I did so, I could call myself a proper artist. Then, it was to do solo shows locally, and eventually, overseas (he has done both)… Now, my goal is to be able to make a living from this and to keep painting till I’m old – and of course, to grow artistically in the process.”
Would you still be an artist if you had the chance to choose again?
“Yes. Growing up, I didn’t feel like I was good at anything. So when I finally found something I was pretty good at, it gave me this obsession with improving my craft – so I can better express what I want to say.”
THIS INTERVIEW HAS BEEN EDITED FOR BREVITY AND CLARITY.
This article first appeared in Volume 2 of F Zine.
TEXT & COORDINATION KENG YANG SHUEN PHOTOGRAPHY ATHIRAH ANNISSA ART DIRECTION JONATHAN CHIA HAIR EC TAN/KIZUKI+LIM MAKE UP SARAH TAN