From October to December 2026, Whitestone Gallery Singapore will present the first solo gallery exhibition by Singaporean artist Peter Draw. Spanning over 10,000 square feet, the exhibition will feature more than forty original works, marking a significant milestone in the artist’s career. Peter Draw is represented by Whitestone Gallery.

Peter is a self-taught artist. His gallery debut is underpinned by an unusual dual trajectory, bridging fine art and digital culture. Beyond his fine art practice, he has cultivated a remarkable global digital presence through his original characters, Ai & Aiko. According to GIPHY’s organic distribution metrics, the characters have garnered more than 80 billion organic views globally, with the channel averaging between 40 and 80 million views daily. In 2021, GIPHY named him Artist of the Year.

Peter Draw founded, coined, and pioneered POST, POST as an art movement not to observe this condition from a critical distance, but to work within it with full intentionality — and to redirect its mechanisms toward love. His practice is built on a specific act of appropriation that is also, always, an act of transformation: he takes something digital and makes it into something else. The tonal play at the heart of it all is written into the characters’ very name: āi, sorrow (哀), and ài, love (愛), separated by a single tonal shift — a curve, a smile. The distance between sorrow and love is always shorter than it appears.

This exhibition is the first full public articulation of that movement. It spans four series, each corresponding to a word in the exhibition’s title, a season, and a tone in Hanyu Pinyin: Love (Spring), Can (Winter), Happen (Autumn), Anywhere (Summer). It is a devotional space built around twenty-five years of drawing as pure philanthropy — for children who survived tsunamis and earthquakes across Asia and Latin America, for the 10,000 children Draw asked in person what makes them happy, for the child in Batam on whose behalf he drew 952 portraits in 24 hours straight, without water, rest, or food, permanently damaging the nerves in his right hand, to show that no act of love is too small. All of that preceded the first sale of a single work.

Whitestone Gallery describes Draw’s practice as one of intimate gestures at monumental scale. POST, POST, at its finest, is always both: a single curve that is a smile, and 80 billion moments of that smile traveling the world.

“Love can happen anywhere. That is not a sentiment. In the context of POST, POST, it is a philosophical position.”