The evolution of an artist’s work often reflects years of practice and experimentation, whether through employing complex techniques or breaking creative barriers. Only progressive and perceptive artists recognise that playing it safe stifles creative breakthroughs—an ethos that Ivan Lam has cultivated for the past 20 years. “The only constant is change. I never stay the same because there’s always more to explore. I want to take my viewers, collectors, or anyone engaging with my work, to a new place every time. Playing it safe means never reaching the unknown, and there is so much untapped potential waiting to be discovered,” says the Malaysian contemporary artist.
A widely exhibited artist, Lam’s recent solo exhibition at Wei-Ling Gallery, The Dichotomy of Opposites, took viewers on an introspective journey into human complexity and the interplay between certainty and doubt. Through two contrasting bodies of work, the series confronts the opposing states of human influence, with Lam oscillating between unscripted spontaneity and structured execution across multiple sensory dimensions. However, it was in this exhibition that he grappled with a sense of void for the first time in his career. “I didn’t have a clear direction or trajectory for how it would unfold. It was a very messy start, and every kind of obstacle you could imagine surfaced at the beginning,” Lam recalls. “Still, I believed in the process and looked forward to seeing it completed.”
Although Lam dedicates most of his time to creating art, he often wishes he could sing—pointing out that, while both the music and visual arts industries share similarities, musicians have a unique advantage. “Musicians only need to write a song, and with today’s streaming platforms, they can reach millions. But in visual arts, we can’t do that. It’s the opposite—we can’t share our work with everyone the way a song can,” Lam muses. “I wish I could bridge that gap.” It is this critical outlook that has propelled Lam into conceptualising and manifesting new ideas to fruition.
You’ve tackled many different themes in your art. Do you see your role as an observer, a commentator, or an activist?
This might have been addressed in one of my YouTube episodes. We all wear so many different hats—educators, social activists, creators, makers, and more. For me, wearing different masks is a way of revealing the real me. I’ve come to realise that being singular doesn’t mean being one-dimensional. It might sound paradoxical but, to be whole, you must embrace the plural aspects of who you are. I believe we, as humans, can’t just be one thing. We all have roles to play, whether as parents or artists.
Many of your works involve laborious processes. How do you decide which medium best serves the idea you want to express?
People love a good story. The essence of the message is very important because you have to use the right medium that aligns with what you’re trying to convey. I have certain mediums I love working with, but not all of them will communicate what I want to say. For instance, using spray paint is unpredictable because there’s no control over where it goes, and you can see the mistakes. But that’s what makes it feel closer to what I want to say, rather than something that’s too precise. Mastery over mediums, even the ones I work with today, requires respect for their idiosyncrasies. They’re unfamiliar, but sometimes that’s just part of the artistic process.
Do you believe in the idea of perfection in art, or is imperfection part of the beauty?
I think the idea of perfection is an age-old conundrum. Chasing perfection can be a very narrow and difficult path, one that’s hard to achieve. It can also be quite shallow, like a shield or excuse. I think it’s important to remove that mindset from your art practice and life in general. My job is to do the best I possibly can, not to create something perfect. Whether or not others see it that way, it doesn’t matter.
What’s the biggest misconception about you?
I think a common misconception is that I come across as intimidating from a distance but, in reality, I’m a pretty gentle and approachable person. I would really like for people to get to know the real me through conversation.
If you could have any artist—living or dead—collaborate on one of your works, who would it be and why?
I would love to work with Claude Monet or Vincent van Gogh. I love the Impressionist period, and it would be incredible to be a part of that era and work alongside such giants.
If your art had a theme song, what would it be?
November Rain by Guns N’ Roses. I think it perfectly sums up the essence of my work.
What have you added to your collection recently?
A thick, detailed book about the Dutch painter Johannes Vermeer.
What do you crave most at the end of the day?
I almost always crave something sweet, whether it’s ice cream or cheesecake. Aside from my mum’s good genes, I’ve also inherited my sweet tooth from her.
