Emerging Artist Samuel Xun Bridges The Line Between Art and Fashion (With Some Politics Along The Way)

Singapore is establishing itself as the premier commercial hub for Southeast Asian contemporary art, and so it's no surprise that emerging artists from the nation are slowly gaining prominence in the global art industry. One of these artists is Samuel Xun, an artist known for his eclectic blend of ornate, intricate pieces bridging fashion and fine art, and more recently his text-based experimental works, which explore material and identity.
Xun has exhibited his artwork at platforms like Art SG and the Chiang Mai City Arts & Cultural Centre, and most notably was by the Lady Dior As Seen By project, Dior’s art initiative that invited various artists from around the world to reimagine the iconic bag from the French luxury bag.

As part of The Doodler's initiative to spotlight emerging and young artists, we were given the chance to interview Xun and take a look into his creative process.

1. Could you share your artistic journey so far?

It's been a great one thus far, but not without challenge. I love that there are ebbs and flows with forging an artistic practice.

2. You have a background in fashion and textile. How has this influenced your work, and how did you navigate your transition to fine art?

It was a very natural process for me. I found a love for making objects through fashion and my works still heavily encroach on these same methods of surface manipulation around the ideas of the body.

3. How would you describe your art styles, and who or what are your main inspirations?

My artistic universe is very texturally driven, framed around strong uses of colour. I grew up with very contemporary references from pop culture and cartoons of the 2000s, and I'd like to think it reflects in the work!

4. Your work rapidly transformed between 2025 and this year. What happened?

These past few years have been a period of experimentation and producing work. I'm a firm believer in pushing oneself, my recent text-based works for example, have been a learning curve in restraint. Each body of work toggles between the creation of something new, and revisiting the past.

5. Your work has been seen by some as having political undertones. Would you consider your art political?

I've been increasingly more comfortable to say that it is. The material language of my works has always been a way to enact soft resistance. Textiles itself is a non-verbal language that has been used throughout history to express ideas and identity. With the recent reintroduction of text and language, it has become more evidently so.

6. How has your Singaporean upbringing, and your identity as an ASEAN artist, impacted your work?

The access to knowledge and safe environment I grew up in is a privilege I do not take for granted. Although my works do not typically reflect what we'd associate ASEAN with, they reference a lot of my urban upbringing to the point of even unpacking my surroundings through textiles. For me, the process mirrors this, my works are often manicured and precise, chaotic but also balanced, and I also love to add a bit of irony and tension to my compositions.

7. Finally, what advice do you have for a beginner or an aspiring artist?

Strategise. Everything you do, every show you participate in, every person you give your time to, should be in service to your main goal. Being kind also goes a long way.

For anyone interested in supporting or learning about Xun, the following links will direct you to his website and CV.
https://samuelxun.com/
https://rkfineart.com/wp-content/uploads/2023/03/RKFA-CV_Samuel-Xun-20250722.pdf