Vincent Van Gogh famously often lived on the edge of destitution, pouring the little money he had into paint and canvas. Sadly, he never achieved commercial success in his lifetime and possibly only sold a single painting. Like his hero Van Gogh, Eston Tan went through deep financial hardship to pursue his art through sheer resilience and the support of his single mother. Thankfully, Tan has enjoyed the rare privilege of art-world acclaim contemporaneously, with his solo exhibition, Our Island, set to be held in Singapore by All About Art Gallery (AAAG) from 30 August to 28 September 2025 in conjunction with the 25th anniversary of his career.
“Tan stands out as one of the rare contemporary artists in the region who masterfully blends abstraction with storytelling,” said Jonathan Toh, founder of AAAG. “Rather than following trends, he has remained true to his vision over a 25-year career—channelling his life journey into each piece which resonates deeply with viewers. At All About Art, we believe in growing alongside our collectors, and we are proud to present his work at this meaningful juncture.”
During an exclusive preview of the Our Island exhibition at a recent event hosted by Robb Report Malaysia, Tan shared his creative processes, inspirations, and his humble beginnings as a struggling artist.
Modest Roots
“I grew up in a small village on the mainland of Penang, surrounded by farm animals that I would draw in my free time. At the age of nine, I decided on my dream job when I read about artists in newspapers. My mum was a single mother of five, but she supported me and often told me that those who turned their passion into their profession find the greatest happiness in life,” Tan remembers. “When I turned 10, I started working part-time as a waiter at a hawker stall just to be able to afford art materials. That early determination shaped my path and made me realise that art wasn’t just a dream—it was my calling. I also learned how to lead a simple life from a young age.
“I never won any art awards as a student but, miraculously, I won a full scholarship to the Malaysian Institute of Art (MIA) when they picked only 20 students out of 2,000,” the 53-year-old continues. “When I asked one of the judges why I was chosen, he said, ‘The others are good in terms of skill, but you have your own style.’”
The Cost of Genius
“Early on, a lecturer at MIA warned me. Only three or four people become full-time artists after 10 years. And after 20 years, maybe only one or even none. But I was determined to pursue my dream. For several years, my diet consisted solely of Maggi noodles mixed with Hup Seng biscuits to make it more filling, as it was cheap. This has caused me to suffer from gastric issues to this day,” Tan says.
Van Gogh relied on financial assistance from his brother Theo, an art dealer who believed deeply in his talent. Similarly, Tan received support from his mother, who borrowed money from other villagers during his first term. Then, Veronica Ho, one of the co-founders of The One Academy of Communication Design, supported him through his studies with the sole condition that he would come back to teach as a lecturer for a year or two. Following that, for seven years, Tan took time to prepare to be an artist, even when his friends received five-figure salaries as art tutors. “I painted, slept, and ate in one small room,” he recalls. “This led to me needing an operation as it affected the nerves of my brain due to the toxic fumes of the paint.”
When one of Tan’s first solo shows was unexpectedly cancelled by a prominent foundation, Nabil Nahar became a guiding force behind his creative ascent. The late founder of NN Gallery, once one of the largest private galleries in Malaysia, helped him plan a new solo show.
Tan’s most expensive work to date has been Unity in Diversity, sold for approximately RM500,000, and his works have also been exhibited all over the world, including Hungary, South Korea, Austria, the US, and Italy. The Penang-born artist now resides in Taiwan, where he practises art full time.
The Art of Becoming
As Tan found footing in the art world, his practice evolved from detailed realism to a nuanced fusion of abstraction and emotional resonance. “In my early years, realism was my way of understanding the world,” he says. “Over time, I felt a growing need to express what I felt rather than what I saw. This led me toward abstraction, which is layered, emotive, and fluid. I then began to focus on the invisible, such as emotions, memories, and even spiritual energy. It became less about painting the subject and more about painting the experience.”
His upcoming exhibition, Our Island, is one of Tan’s most personal projects to date. “It draws from my life between Penang, Taiwan, and Singapore—three islands that have shaped my identity, both as a person and an artist,” Tan says. “Although the series took about a year to complete in the studio, the truth is, it’s been quietly forming in my heart and mind since 2019. It’s a body of work born from reflection—on belonging, cultural roots, and the invisible compass that guides us through movement, memory, and return. Each painting is like a quiet dialogue with the places I’ve called home, exploring not just where I come from, but also where I feel most rooted—even while drifting.
“Looking ahead, I hope to mentor younger artists, to share not just technique but also the courage to be true to one’s voice,” Tan states. “And, of course, to keep creating as long as I breathe.”
MORE PIECES BY ESTON TAN
‘Our Island’ will be held in Singapore at All About Art Gallery (AAAG) from 30 August to 28 September 2025. The gallery is located at 02-01E, Block 39 Tanjong Distripark, 39 Keppel Road, Singapore 089065.
Photography by Momenz Creation
