“Given the complexity of supply chains, I can imagine how difficult it is for us to relate what we wear to problems such as the exploitation of garment workers and finite natural resources in the fashion industry. What we can relate to though is the fact that we are very much part of the supply chain; that we’re participants of a huge and flawed system… This illustration was done in deep collaboration with Xingyun Shen – an incredible advocate for sustainable fashion in Singapore whose Instagram account @noordinaryprotest is a space where I’ve been learning how I can be a better fashion consumer. To learn more, please check out the podcast Re:Wear on Spotify.”

Woo is a climate activist, digital creator and sustainability consultant who runs the Instagram account The Weird and Wild (@theweirdandwild), where she helps to break down the science around environmental issues through her self-taught illustrations, and direct people to useful resources on the topic. For her next project, she’s looking to start an exploratory platform called Climate Commons (@climatecommons) where she will communicate climate information by combining design, tech and art. 

Can you tell us more about the work you created for FEMALE?

“My work aims to talk about our personal relationships with fashion. I think oftentimes, sustainable fashion movements talk about the environmental impact of production, our overconsumption and also disposal which are definitely big problems to address. As I learn more about the space (from incredible local activists like Xingyun (@noordinaryprotest) and organizations like Fashion Revolution Singapore, Zerrin and The Fashion Pulpit), I learnt that a lot of these problems or at least our overconsumption comes from a very flawed relationship with our clothes as we see them as disposable, to the point that we will compromise quality for care.

I also drew a huge blob character in the centre – almost as though it is communicating to the viewer, asking them to think about their relationship with fashion. The blob is wearing the Tiktok dress from House of Sunny, because of the conversation it started on fast fashion, and the effect of social media on trends and how that affected our consumption patterns.

The final portion shows boxes of clothes that were going to be donated to charities that will accept them. While the intention is good, mindless donation of clothes create large amounts of waste elsewhere and we need to also evaluate where our clothes go to and if there are better ways for us to dispose or manage the end of life of our clothes such that we do not simply shift the problem elsewhere.”

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“This is so interesting! I have often wondered if these works that I do are considered art and hesitate given that my visuals are merely mediums for messages that I care about. My lack of training in art definitely adds to that. I do think that there’s budding interest in using comics and visuals to advocate for causes on social media, but I believe that art has always been used to push boundaries of social issues and that now social media makes that dissemination and access to an audience more accessible (compared to art galleries, etc). I’m not sure about momentum yet, but I’m definitely keen to see where this goes and to also continue to push for this medium of, in my case, science communication!”

What would you say accounts for the often child-like aesthetic of these works?

“Funny you say that! I tend to go for bolder colours rather than pastel, but pastel does come out a lot just because I think that more intense colours are sometimes tougher to draw/write on. The cute-ness probably comes from the big-eyed blob characters that I draw. Practically, drawing blobs help save time because I have a tough time drawing people – but I still needed characters to communicate or show certain things. Hence, the blob was born to fill that need. Beyond my inability to draw people, I also differ a little to more ‘child-like’ drawings precisely because it appears child-like.

I remember watching a panel that Sonny Liew was on, and he talked about how graphic novels often come with the label and perception that it’s targeted at juveniles and how that can lower people’s barriers to picking up a comic to read or influence their perception that what they’re going to read will be understandable. I really liked thinking about my work through that lens too, given that my content aims to get people to question concepts, appreciate complexities that are tough to grasp and heavy at times. Hence, the childlike nature aims to encourage inquisition, creativity and imagination which I believe are so needed when confronting the climate crisis.”

“The piece that I’ve created is quite personal. Despite being the top salesperson at my company, I was retrenched recently right after completing my maternity leave. Though I’m still adjusting to the situation, I’ve come to realise that this has helped to propel me into serving my purpose and that it’s paramount to validate one’s emotions no matter how low they might be to be healthy mentally.”

By day, Nasuha (@nasuhadarke) co-runs a home-based F&B business with her husband, handling the branding and marketing. By night, she illustrates digitally – a skill she had taught herself last year as a way of self-expression after feeling restless and “entrenched in the identity of a mother”.

What first drew you to the field of illustration?

“What prompted me was the restlessness of not expressing myself creatively through art for a long while. There was also a desire to discover myself again after being entrenched in the ‘mother’ identity. I started illustrating digitally in June 2020 and learned online on my own in the wee hours while the kids were sleeping. Digital art allows me to express myself quickly without being limited by physical resources and space.

I don’t stick to one particular cause (on my account). I think the general theme for me is self-care, compassion and lending my platform for the oppressed or those in need. The process is if I have an overwhelming feeling of empathy, or anger, or pain – it would move me to want to draw it out. My thoughts would be: How can I best make people understand this is not ok? How can I let people realise this is important? How can I invite deeper thinking and self-reflection? How can I move their hearts so that they are part of creating the awareness?”

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“I’m all for this movement if it invites minds to think beyond themselves and their personal experiences. And invoking some compassion and empathy in the process. I guess being able to impact the heart or telling the story well might be more effective than having a proper certification or traditional training. I personally noticed the new wave art during the BLM movement, and then other ‘artvocacy’ popped up from that point onwards. It doesn’t interest me to discuss if something is art or not. I believe everyone is innately creative in their own way, and anyway you express it could be construed as art.”

“Our jobs demand so much of us and society makes it seem like work is the most important priority. Hence – when one is faced with social issues that may seem overwhelming or insurmountable – it’s easy to feel tired and powerless about them, and give up. If we do that even before trying, nothing will ever change though. I made this comic to remind us about how much power we truly have. Every single person makes a difference, and if we care and come together, we can make change happen.”

Pang (@rachelpangcomics) is a self-taught comic artist. As a sexual assault survivor, they (Pang’s preferred pronoun) felt horrified at the 2018 appointment of the judge Brett Kavanaugh to the Supreme Court of the United States despite serious sexual assault allegations against him from multiple women. They started their popular account in 2018 following the positive response and encouragement they received after releasing a comic on the topic and their personal experience with it.

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“I think social media is a really valuable space for people who are not typically represented in the mainstream media, people who don’t have easy access to decision-making power, people who are usually made invisible in the dominant everyday discourse/public spaces.

It makes sense to me that, finally, with a space that’s a bit more free and accessible, people’s authentic voices and stories would emerge. The online space becomes an essential platform for self-expression as well as connection for and between marginalised groups.

Regarding whether it’s a movement or not, I think for it to truly become a movement we would have to go beyond individual self-expression to a more intentional level of building meaningful ties/community connection with one another.

While individual self-expression is really important – having awareness and naming what is going on is an important first step, putting your thoughts out there creates the opportunity for solidarity with others in the same situation who might have previously felt isolated, allowing outsiders to understand the situation etc. All this is very important. But the stuff of movements needs to go beyond that – to have interpersonal connections and community building! I think this part is still very much at an early stage, but I’m looking forward to it growing!”

Would you say you advocate for any particular causes?

“I think what I’m advocating for is for people – everyone, no matter what age or background, to be curious, compassionate and never stop asking questions! (‘To what end? Why is this like this? Do things have to be like this? Who does this serve?’).

I think that’s kind of the foundation from which I approach every social issue I care about/write about. If you care about other humans, have empathy and compassion for every single person, animal, plant, then suddenly the way things currently are, the way we operate as a society doesn’t make that much sense anymore. I don’t really advocate for one particular ’cause’ because all ’causes’ are interconnected, and shaped by the larger system.”

“The Trojan horse is my way of conveying information to people – cuteness is my weapon.”

Neo is an illustrator who’s been in the business for more than a decade. On her Instagram account (@illobyanngee), she addresses many issues including local politics, sustainability and mental health. She hopes people will think more critically about current affairs and favours using humour and cute graphics to “trick them” into learning.

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“If you’re talking about activism then I think it’s just because it has come online and using social media. There has always been a rich history of artists/designers/creatives using visuals to advocate for causes. There have been many iconic visuals made for advocacy. Picasso’s Guernica, Norman Rockwell’s The Problem We All Live With, Nick Ut’s Napalm Attack, even Singaporean cartoonist Morgan Chua’s political satire are visuals that advocate for causes. The reach for the majority of these visuals was just not very wide since these media were printed.

For example, zines were originally a form of publishing distribution for subcultures and messages. They were sent via snail mail and usually made in small quantities. Now you can essentially make a digital zine and publish it on your social media. I think the momentum is gained through social media’s global reach and instant access to audiences. 

Why is it so popular now? Probably because more humans have reached a generally affluent state where they’re not struggling for basic needs and can give attention to more altruistic causes. The prominence of visual-driven social media apps like Instagram and Tumblr also makes these messages easily accessible for anyone who has a phone.

(That said) I’d describe my work as visual communication. I don’t consider my work art. I don’t consider most activist/advocate materials found on social media as art.”

What would you say accounts for the often child-like aesthetic of these works?

“To lower the barrier of entry and minimise threat/danger/etc. At least, it is a tactic I often use in my work when talking about divisive issues. People find the child-like aesthetics non-intimidating and easy to pick up to read when I talk about tedious subjects like Parliamentary laws or the history of our elections. It’s also easier to draw and takes less time/skill.”

“This comic is just a silly representation of when it’s easy to remind others that self-love is important, but it’s hard for you to really take it in yourself.”

Ho (@feever_dreem) is an illustrator and cartoonist whose work tries to incorporate a lot of heart as well as humour. They (Ho’s preferred pronoun) firmly believe in causes such as supporting the LGBTQ community and migrant workers’ rights. This had led them to work extensively with organisations such as the Queer Zinefest and the Migrant Stories project; the latter an initiative that sees local illustrators helping to translate poems written by migrant workers during the pandemic through their art.

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“I think it’s always been around, people have been posting art and comics to the internet the moment it was possible. From Tumblr or websites like Hyperbole and Half  or  The Oatmeal. People were posting autobiographical stuff on there that often dealt with mental health or the absurdity that happens with a day in a life. There’s no need to categorise it as fine arts, I think most of these doodlers might not even have seen it as such. People were advocating for marginalised issues with zines before social media too, and it wasn’t categorised as art.”

Would you say you advocate for any particular causes?

“The specific causes I’ve tried to support include LGBTQ issues, migrant worker rights, and general autobiographical work on mental health. I try to work towards a call-to-action, whether it’s directing people to a link or having a very clear message. The work for me doesn’t end with creating the picture, and sometimes continuing the work in the form of organisational work (e.g. Queer Zinefest or the panel for our migrant poets in our collaboration for http://migrantstories.online/).

Queer Zinefest is close to my heart because I help to do the design and also the fundraising and organisation for it. I’ve made friends and strengthened bonds over the course of contributing to that event, and we value our community very much. The Migrant Stories project, a collaboration between local illustrators and migrant poets is also very important to me. Their freedom of movement is still heavily curtailed and the dorm workers’ mental health is just in a state of erosion that the general population should not be comfortable with.

I think trying to replicate the close experience I had working with these issues with other artists was special to me, and I got to know these talented poets as well who wrote beautifully for our project.”

What would you say accounts for the often child-like aesthetic of these works?

“It’s a style I just like to draw really. But I’ve been more cognizant about its effects, where I use a similar style for both institutional works and for content that might be seen as against the grain. The cartooning style I have has a certain disarming quality and charm that helps me to advocate for less accepted issues in a more palatable manner.”

“Nowadays, I feel like there’s a lot of pressure to perform and grow quickly, and many people only see themselves as valuable if they’re able to progress through life and work stages quickly. It’s difficult not to compare ourselves to others who are of the same age, but I think it’s important that we try to do that less and appreciate our own selves and our personal achievements, no matter how small they are. We all have different lives to lead and different circumstances.”

Ng is a creative director and in her spare time, runs the community initiative Making Meaning (@makingmeaning.sg), which she founded and aims to help connect non-profit organisations with volunteering designers. She hopes to encourage more empathetic design for good causes as well as to foster a healthier work culture within the creative industry.

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“I actually have noticed a rise in designers and illustrators using social media to advocate for things they believe in. I wouldn’t consider it a movement per say, but I’ve always believed that creatives have a great opportunity to use their skills to raise awareness and communicate things that are important. I think that the role of creative people has always been to help communicate things better in ways that engage, resonate with and reach out to others. And I think people have been doing this in their own capacity for a long while, perhaps it’s only recently with platforms like social media where we are able to try and reach out to others a little more.

(Also) How do we define art? I’ve never really considered myself an ‘artist’, however, I think that when we look back at artists and the work they do – many of their works are a reflection of themselves, their experiences, emotions and beliefs; and also serve to send some sort of message or touch others in some way. If we look at this definition then I guess in some ways the work I do does fall under that category, even if it’s not something in a gallery or collection.”

What would you say accounts for the often child-like aesthetic of these works?

“The role of illustration is often to make heavy topics more accessible. Would you stop to look at something dull or wordy? I think in today’s context, most of us are constantly bombarded with information, with so many people saying so many things at once. With so much fighting for our attention, I think it is important that the illustrations and posts I share are easy to read, interesting and relatable – which is why they tend to be bright and playful.”

How has the response been to your works?

“I mostly try to reach out to creatives because I feel like many are burnt out in an industry that doesn’t care much about their personal welfare. And it’s a shame because many of them have the skills to do a lot for the world and many have the heart to do so too but they’ve just been slapped in the face by this industry – so I try to share the little encouragement, advice and inspiration that I have. What has been most memorable was when I did a post on imposter syndrome, which is something I constantly struggle with too and so many people said that they related, or it was something they needed to see right at that moment. That really touched me.”

“The illustration explores the feelings one goes through navigating life during times like these. I wanted to show that it’s okay to feel lost and not know what to do. Many think of parachuting as a nimble, almost graceful experience when in actual fact, it can involve a lot of tumbling around before achieving flight – similar to how life is.”

Syahirah is a graphic designer by day and thanks to the extra time afforded by the pandemic, she started her account The Trying Muslim (@thetryingmuslim) this year to return to her interest in illustration. She also uses the account and her self-taught illustrations to address topics such as the lived experiences of minorities in Singapore.

What are your thoughts on creatives using visuals and/or art to advocate for causes?

“Everyone can be an artist, just pick up a pencil and tell your story. We all have a unique outlook in life no matter your background, you don’t need to be trained in ‘fine art’.

There is a new wave of artists who are gaining popularity on social media through their storytelling. I love content that is relatable, whether it be a shared sentiment or a funny story. When a story resonates with you, you don’t think about whether the proportions are accurate or if colour theory is applied effectively, you just enjoy it for what it is! If I spent time agonising over the fact that I can’t draw hands well, I would never get around to posting any of my work.

The movement gained momentum during the height of the pandemic when it was more important than ever to reach out and feel connected to others. Seeing comics poking fun at Singaporeans endlessly making dalgona coffee and baking banana bread, felt like we were going through the pandemic together and creating collective memories along the way.

I am an advocate for the fact that anyone can tell their story. You don’t have to be an artist to be able to share an empowering message or a story close to your heart. To be honest, there is no clear process, my illustrations are often a direct reaction to what I see and experience around me in real-time.”

How has the response been to your works?

“One of my proudest projects would be the piece about my post-vaccination panic attack. I never expected that to happen to me and felt alone at that moment, but by creating that post many people reached out to me saying they felt the same way.

I never expected the account to grow to what it is now and the community I have managed to build along the way. I started the account as an individual who wanted to share my experiences that I thought no one would care about, it still astounds me that there are so many others out there who relate to what I feel.”

A version of this article first appeared in the Jan/Feb 2022 Art & Music: The Analogue Edition of FEMALE