Sam Lo is here to stay

One of Sam Lo's greatest fears is being forgotten. That fear doesn't just stem from Lo's profession as a freelance artist: Lo is also deeply concerned with the visibility – and in turn, the rights – of Singapore's LGBTQ+ community.

"When I was growing up, I didn't have role models – someone I could identify with, as a trans masculine person," he says. "Even when there was representation, it was always in a negative light, perpetuating all these bad stereotypes. You get this sense that you cannot be anywhere."

Lo is keenly aware of the limitations of being an artist in Singapore, in that certain topics are still areas that need to be tread carefully on. And while Lo prefers to let his art speak for itself, he acknowledges that his identity as a trans person is an integral part of his work.

"I never liked to associate my queerness with my work," he says. "But at the same time it's good for people to know where we come from – because whatever works we create are products of ourselves."

You've been part of the queer community for a long time. Do you ever feel tension, or inner conflict, being a queer artist in Singapore?

My belief system still says the same: I'll create as long as I love doing it. But as far as subject matter goes, I also know the country that we are living in. I have these different struggles with living with that. I think that conflict comes from being myself, a trans man.

I can be very honest. My partner and myself, we considered moving out of Singapore – we thought about that because I started transitioning. And also, she's always had a vision of us living in a place that fully accepts us for who we are.

Right now, my internal conflict is about my rights as a queer person here in Singapore. And being trans, I've seen a lot more of the things that we have to go through just to get equal rights. We love the city, we know that we're most comfortable here because it's home, but at the same time, they don't recognise our rights in the same way that it is for cishet people.

How do you deal with having to self-police your art?

It's quite hard, to be honest – especially when working with stat boards or government bodies. I think that's one of the biggest conflicts, especially if I'm doing hyper local pieces, where I have to be proud and happy about being Singaporean [laughs]. You know what I mean?

It's like – how do I even find that motivation sometimes, especially with all the things that have been going on for the LGBTQ+ community? I still don't have the same rights as someone else who is cishet. That is something that I feel quite conflicted with. But at the same time, I know it pays my bills – so I feel that tension.

How do you make peace with that?

Visibility. When I was growing up, I didn't have role models I could look up to – someone I could identify with, as a trans masculine person, because a lot of trans people have been given a lot of negative light, a lot of bad stereotypes were perpetuated. So in that sense, I didn't really have someone that I could relate to.

I want to show that I'm able to work with all these different people, and get my work out, and still enjoy what I do.

You recently came out as trans. What was that like for you, and has it factored into your art?

It's been a journey. I think I took a long time to actually embrace the term 'trans'. Even though I know this was what I was my whole life – the term itself, I think, also had a lot of negative connotations. It felt uncomfortable for me to say, "I'm trans."

Now, it's a relief. It just feels more comfortable. After I came out, it was easier for me as well, because I can see a lot more people in the community. And that's how I started to feel more comfortable.

I've never liked to associate my queerness with my work. I rather that my work speak for itself. But unfortunately – or maybe fortunately – ever since the Sticker Lady case in 2013 [where Lo was charged with public mischief], I've become a little bit more visible.

As artists we want our words to speak for themselves. But at the same time it’s good for people to know where we come from. Because our works are a part of ourselves.

Do you see change and progress in the arts scene – especially with regards to the queer community?

Well, these days, you see more murals, you see more public art out there. So people are more daring, are more willing to have art on their walls, in public spaces. That's definitely progress. And when it comes to tackling certain content, I think that we're definitely ready to have those conversations.

I have a lot of hope for the younger generation, because they are definitely more vocal. I’ve learnt a lot – and that was also how I was able to come out as well. So in a similar vein I hope to see that change in a wider context. It might be somewhat glacial now, but everything takes time.

Photography Joel Low

Styling Gregory Woo

All jewellery Tiffany & Co.

Styling Assistant Adelynn Wong

Hair Peter Lee using Wella Professionals

Makeup Wee Ming using Nars Cosmetics