Not for sale: He manages UOB’s 2,800 artworks

In this series, people from all walks of life offer an inside – often unfiltered – take on their livelihoods and what keeps them going in their jobs. In this instalment, hear from the custodian of UOB’s growing art collection, Mr Xu Weilun, 41, on what it takes to display, store and manage the works of art in Singapore, as told to The Straits Times.

I make sure that more than 2,800 works of art owned by UOB are kept safe and in good condition. About 70 per cent of them are displayed and stored locally.

We used to have an acquisition committee that bought artwork for our corporate art collection, so a good portion was acquired long ago. Now, we organise the yearly Painting of the Year art competition, where the winning artworks become ours. People are not allowed to buy them because they are part of a corporate collection.

I do not call myself an art curator, but I am the go-to person in the bank for all things related to the UOB art collection. While I was not trained as a curator, I worked in the art industry for 10 years, learning the ropes of exhibition and collection management along the way. The job includes looking at specific requests by UOB offices, bank branches and exhibitions. In terms of art collection management, my role focuses on operations, programmes and overall responsibility for them.

The artworks displayed at our premises are carefully selected because they are in public or semi-public places. We are careful with how we display them.

To profile our winning artists, we showcase their winning artworks on the walls of branches or in the UOB Plaza 1 lobby area to give them more exposure. We also took the opportunity to refresh the artworks in the lobby area for an art projection showcase that concluded recently.

The space in the lobby is limited, so 11 artworks that share some consistency were chosen. If you saw a particular artwork projected on the building, the actual piece was also displayed at the lobby. It was one way to prolong the impact we could create for the artists. I find this meaningful.

Art theft and vandalism are potential concerns. It is part of our protocol to place artworks only in areas with security measures, such as the presence of security personnel at access points and surveillance cameras. Our UOB Plaza 1 lobby is an example of such a venue. Every year from November to January, our pieces displayed at National Gallery Singapore are winning artworks from our Painting of the Year art competition.

One of the artworks displayed on the ground floor during the recent showcase was a piece by local artist David Chan. What I really liked about it was its magnetic effect on passers-by. Almost immediately after we installed it, people began stopping to look at the piece. The artwork sparked conversations as it portrays many historical figures in one scene. Good or bad, it is still a talking point, and if we can start a conversation, I am more than happy.

I often begin my day by advising our colleagues here and our key markets – Malaysia, Indonesia, Thailand and Vietnam – on art collection matters. If we are opening a new branch, we look to display certain artworks in specific areas. When they request artworks, I first need to review the floor plan.

After negotiations and agreement, I release selected artworks from our storage facilities in Singapore to that office or branch.

When bank branches merge or close for renovation, they must inform me, as I need to keep track of artworks returned to us for safekeeping. So there are also instances where I expect to receive returned artworks.

Usually, when business units request artworks, they specify their preferences such as themes or sizes, which I try to accommodate and recommend.

A few months ago, though, a colleague asked me about a very specific artwork for his office but could not remember the title or artist’s name. He briefly described the piece he had seen about 15 years ago within UOB premises.

He requested it due to the memories he associated with it. Eventually, I found it and received very positive feedback. He e-mailed us afterwards to say he appreciated the effort in finding the artwork and was happy to have it in his office.

A misconception people have is that we are basically a storeroom for decorative pieces. I think artworks are not just decorative objects. They are works we value, each with a story to tell. Because of that, they deserve due respect, showcased in the best possible way. I make it a point to share my views with my colleagues and members of the public about this.

Everything deteriorates, and artworks are no exception. What we can do is to implement preventive measures to prolong their lifespan and slow down their deterioration.

I need to ensure our artworks are in a stable environment, which should not fluctuate from very humid to very dry conditions. They also must not be exposed to direct sunlight. Our storage facilities are climate-controlled.

Non-conventional artworks involving mixed media require special attention. One example is Chumphon Estuary, an artwork by our South-east Asia winner from Thailand, a huge piece that depicts many different microplastics dotted around the map.

If this needs to be transported to a different location for display, then specific instructions must be given to our vendors, such as taking extra care and packing it differently.

I graduated with a diploma in tourism management and started out in the aviation industry, working at the airport and handling operations and events. This led to an introduction to a job at an art logistics company, where I stayed for 10 years. In that role, I helped organise exhibitions and run its art conservation business. UOB was my client then, and that was how I got to know, and became familiar with, the way my current employer works.

One day, an opportunity came and I seized it – I felt I could contribute more to UOB than as a service provider. After being in the same job for a long time, I began thinking about my next steps. Should I continue in the same industry or try a totally new one? I felt I could put my decade of art management experience to good use, and by coming here, I have tried to help improve things as much as I can.

Thanks to my past work experience, I can probably identify problems more easily than most people. For example, I can tell if a canvas is a bit loose and if, sooner or later, the layer of paint may start to crack. I can then address it by sending it for reframing or to a professional conservator.

Because I am not a trained conservator, I do not tamper with the collection. The artworks carry value so it is best to outsource them to a professional who can do the job.

The advantage I have from managing an art conservation business is knowing exactly what to expect. When conservators see that I have clear expectations, it helps ensure a proper job is done.

I often carry a measuring tape with me, but many things are based on instinct and experience. My phone is my best friend – I use its measuring function to check if an artwork is slanted or parallel to the ground.

What is a good environment for the artwork to be in? Is there foot traffic?

I must be physically present during site recces and the installation of artworks because I want to know where each piece is placed. Lighting can make a huge difference, and we aim for a museum or gallery standard. Depending on the artwork and display venue, we try our best to provide lighting that elevates its visual appreciation. For example, we prefer light bulbs that shine at a narrower angle, focusing on the artwork without flooding the wall areas around it.

We make sure the lighting provides adequate brightness that is also comfortable on the eyes.

I want our artworks to capture attention without distractions around them. Hallways are ideal because, as you are about to enter a meeting room, there is something to look at along with a label that tells the story.

Some artworks do better without frames, which can be a distraction. In other instances, we frame them because they are more delicate.

Outside of work, it has become second nature to me to think about the environment in which artworks are displayed. Does it smell mouldy? Is the spotlight too hot? Is it forming a cloud over the artwork? LED lights are more common these days as they do not generate as much heat compared with halogen lights. Heat is not ideal for artworks, and the same principle applies to natural light. We avoid displaying artworks in areas where there is direct sunlight, as heat and UV rays deteriorate them over time.

It has become an occupational hazard – I tend to check whether artworks are optimally displayed, such as if they are slanted or if the spacings between them is even. A pet peeve of mine is when an artwork is hung so high that you have to strain your neck to see it.

Our role has always been to uncover talent through the competition, but we also want to provide continuity so that participants can realise their dreams if they aspire to be artists.

When we hold overseas exhibitions, such as Art Jakarta or Art Central Hong Kong, I pick out winners from the previous year and ask if they have ready artworks they would like to show.

One of my favourite parts of the job is visiting artists one by one at their homes or studios. I can see their excitement at being part of a selling exhibition, and they are always happy to show us the artworks they have created. As a bank, we do not profit from the sale of these artworks.

I do not have a single favourite, but one artwork that left a deep impression on me – the winning piece from the emerging category by 2023 gold award winner Nurul Afiqah. It was a mountainous scene sketched in pen with very little strokes. Look closely, and it is incredibly complex, with a kind of obsession in the making of these different strokes forming the mountains.

But from a distance, with a blank space above, it looks simple at the same time. The first time I saw her submission, I had a gut feeling it might be one of the winning pieces. She is now an art teacher and specialist at an international pre-school in Singapore.

Even though my role initially focused on programmes and managing the art collection, over time I had the privilege of offering ideas in the creative area. When I was first asked to organise one of the exhibition booths for Art Jakarta, I thought it marked the start of a shift from governance to something more creative. In 2025, I was involved in Art Central Hong Kong, where everything – from the booth’s design concept to work selections – was left entirely up to me.

In Singapore, the conventional route is to study hard, get a certificate and secure a steady job. In that context, I feel becoming an artist is still somewhat unconventional. So we want to be that gateway, giving people opportunities and showing that it is possible with institutional support.

A scientist named Maurice Chan won the competition in 2024. Another example is artist Esmond Low, who won his first competition in 2012 at the age of 17. He now has a full-time job and is also represented by an art gallery. We are not making promises that you can become an artist, but it proves that if you have a passion for art, it can open the door to an alternative career.

It is an open playing field – that is the beauty of uncovering talent, because you never know where these artists might come from. It could be school teachers, engineers or retirees. Art has no age limit.

Got an interesting job to share? Write in to us at ssharon@sph.com.sg.