Christine Mak
Christine Mak: East–West Harmonies in Singapore’s Modern Art Landscape
A sell-out favourite in the 1980s and 1990s, Mak’s quieter presence today makes her one of the most intriguing rediscovery opportunities for collectors. Best known for her seamless blend of traditional Chinese compositions with Western techniques, Christine Mak (Singaporean, b. 1957) was trained in Western painting at the Nanyang Academy of Fine Arts (1976–1978) and in Chinese brush painting under Chao Shao-An, a master of the Lingnan style (1979–1982).
Christine Mak, Untitled (Purple Cactus), Undated
Her path into art was unconventional: she described developing an intense, almost irrational urge to paint in 1976 during her late teens—something that came from nowhere, given that she had never painted before and had no family background in art. In an 1989 interview by The Straits Times, Mak said “I must paint. It’s like an addiction. If I don’t, I cannot live my days” [1]. Over time, Mak’s unrelenting discipline merged with her fascination with both Eastern and Western aesthetics, through a multitude of forms including ink, mixed media collage, oil painting or gouache, resulting in an art style unmistakably and distinctly her own [1, 2, 3].
Early Formation and Education
Mak began her training with Western painting at NAFA at age 17, experimenting with mixed medium and collage. A pivotal visit to the National Day Art Exhibition in 1976 prompted her interest in painting. She enrolled in part-time courses at NAFA in watercolour and oil painting for two years, followed by classes in Chinese ink at a community centre and later under Singapore painter Nai Swee Leng, discovering a natural affinity for the medium. In 1983, she made her most decisive turn: moving to Hong Kong to study under Lingnan master Chao Shao-An for three years. The Lingnan School’s embrace of cross-cultural methods in perspective and colour deeply appealed to her, as did its ethos of outward-looking experimentation [2, 3].
By 1991, she was painting full-time, counted among Singapore’s third-generation artists alongside major figures like Goh Beng Kwan and Tay Bak Koi. Her work gained attention for its East-West crossover, modern sensibility and oftentimes subtle humour—qualities that distinguished her within the traditional art landscape [5, 7, 11].
Artistic Influences and Working Approach
While grounded in Chinese brush traditions, Mak developed a distinctly contemporary style. She preserved recognisable motifs—birds, village figures, cats, fish—yet placed them within environments that challenged expectations of the medium. She believed Chinese brush painting could be modern without abandoning its roots and frequently proved it by using bold, unexpected colours and spacious, Zen-like compositions. Mak held an unexpected admiration for Jackson Pollock, whose rhythmic spontaneity and “creative accident” quality fascinated her. This duality—discipline versus unpredictability—became an undercurrent in her art, where clean, spare compositions sometimes reveal playful or humorous quirks [1, 2, 3, 4].
Small twists, such as a shirtless pot-bellied gentleman enjoying a slice of watermelon in the summer heat—add an undercurrent of humour without undermining the painting’s quiet elegance.
Christine Mak, Fragrance of Home, 1997
Exhibition Success and Market Legacy
“Mak is one of Singapore’s most saleable artists” [1].
Mak’s market success was remarkable. Critics responded enthusiastically to her work, and her pieces were typically the first to sell at exhibitions. She cultivated a dedicated following of collectors who would visit her studio eagerly, and her buyers included major organisations such as UOB and The Esplanade. She achieved sold-out solo shows in 1986, 1987, and 1988; her nine works at the 1986 Shell Art Discovery Exhibition were purchased immediately. Despite this, Mak has remained relatively under-the-radar in recent years, creating a rare moment for collectors to rediscover and revalue her importance [1, 2, 3, 7].
Reading Mak Through Three Works
The three works below, produced across different mediums and periods, illustrate the versatility and modernity that make Mak’s practice so compelling for collectors today.
1. Christine Mak, Untitled (Still Life with Autumn Leaves), Undated
Mixed media collage, 19 x 37 cm (visible), 29.5 x 91 x 2 cm (framed)
This collage shows Mak’s sensitivity to materiality, an aspect sometimes overshadowed by her better-known ink paintings. Fragments of textured paper build an abstract field divided into zones of darkness and translucence. The orange leaf-like forms are artfully restrained, elongating and bridging the contrasting background.
Her training in Western mixed media surfaces strongly here. The work recalls the compositional clarity of her Lingnan background while embracing the layered tactility of collage, resulting in a clever hybrid aesthetic. Her practice extends well beyond ink painting, revealing a deep engagement with modernist composition and texture [2, 3].
2. Christine Mak, Untitled (Housewarming), 2012
This abstract painting reveals a dimension of Mak’s practice that extends beyond her ink and collage work—an assured fluency with bold colour and expressive gesture. Large planes of ochre, blue, and yellow collide with energetic strokes, building a surface that feels electrifying while remaining compositionally balanced.
The work reflects Mak’s early years spent experimenting with Western painting at NAFA, where collage and mixed media formed the foundation of her training. Her admiration for the spontaneity she once observed in Jackson Pollock’s paintings appears here in the loose, rhythmic markings that animate the canvas. Yet there remains strong compositional structure, defined through blocks of colour and recurring directional lines, showing the same discipline that shapes her ink works. The painting illustrates Mak’s confident blend of Western abstraction and the measured control of Chinese brushwork [2, 3].
3. Christine Mak, Untitled (House on a Hill), Undated
Ink and colour on paper, 67 x 21.5 cm (visible), 98.5 x 40 x 2.5 cm (framed)
This vertical landscape returns Mak’s mastery of Chinese ink, yet it carries a distinctly contemporary lightness. The cliffs rise playfully in warm shades of sienna, amber, and muted orange, with light dots of blue, their forms outlined in thoughtful, meandering strokes. A slender staircase threads its way upward, leading to a spirited cluster of small houses perched at the summit. Despite the scale of the landscape, the painting feels intimate rather than colossally distant.
Mak’s years studying under Lingnan master Chao Shao-An surface in the painting’s fluid line work and the ease with which she layers colour washes. However, the scene also bears the qualities that make her ink pieces uniquely her own with the playful subject matter and departure from traditional Chinese brush painting colours such as brown, yellow, and green [2,3]. The generous space left at the base of the painting further anchors the composition, reflecting Mak’s traditional Chinese training in balance and restraint.
Why Christine Mak Matters
Christine Mak occupies a rare position in Singapore’s art history: a third-generation modernist who brought contemporary sensibilities into Chinese brush painting. She helped redefine the medium’s possibilities by integrating vibrant colour, humour, and contemporary aesthetics while maintaining the spirit of traditional subjects. Despite her strong commercial record in the 1980s and 1990s, Mak remains under-the-radar in today’s conversations about Singaporean art [2, 3, 4, 7, 10].
Today, Mak’s practice represents a distinctive thread in Singapore’s contemporary art story. Her movement between Western techniques and traditional Chinese compositions reflects a practiced fluency, allowing each tradition to complement the other. To live with her work is to encounter that balance—calm, assured, and lasting.
-
Written by Hayley Cheung.
-
Footnotes:
[1] “Reality gets in the way of Mak’s dream”. The Straits Times, September 1, 1989
[2] Koyakutty, Haseenah. “Christine paints a modern backdrop for Chinese art”. Timezone Central, September 14, 1989
[3] Kam, Weng Leong. “Full-time painter dropped art in school”. The Straits Times, April 15, 1994
[4] Ho, Janet. “Buyers swoop on works of gifted artist”. The Straits Times, April 24, 1997
[5] Oon, Clarissa. “Eight more works bear Fruit”. The Straits Times, July 16, 1998
[6] Sim, Arthur. “Selling in her Mak”. The Straits Times, April 5, 2002
[7] Nayar, Parvathi. “Giving shape to yearning for a simple life”. The Business Times, March 30, 2007
[8] Chia, Adeline. “Pick art, win prizes”. The Straits Times, August 9, 2007
[9] Cheong, June. “Painter going places on art award”. The Straits Times, August 30, 2007.
[10] Sasitharan, T. “Foreword”. Christine Mak. (n.d.)
[11] “Begin Again – A new Journey”. Christine Mak. (n.d.)
Selected Sources & Archive
Below are published accounts of Christine Mak. Our team has meticulously reviewed and archived a range of print materials documenting Mak’s distinguished career.
| “Reality gets in the way of Mak’s dream”. The Straits Times, September 1, 1989. | Koyakutty, Haseenah. “Christine paints a modern backdrop for Chinese art”. Timezone Central, September 14, 1989. |
 |
 |
|
Kam, Weng Leong. “Full-time painter dropped art in school”. The Straits Times, April 15, 1994. |
Ho, Janet. “Buyers swoop on works of gifted artist”. The Straits Times, April 24, 1997. |
|
 |
|
Gallery brochure for Christine Mak’s “Begin Again – A new Journey” exhibition. |
Christine receives Arts Supporter Award in 2008, from Dr Lee Boon Yang, Minister for Information, Communications and the Arts. |
 |
 |
---
|
If you enjoyed this blogpost, consider buying me a coffee. Please scan the QR code here >>
What is "buy me a coffee"? Buy Me a Coffee is a way for people to tip or say thank you to content creators and creatives.
Also you didn't ask but here're our preferred coffee orders:
|
 |