Bringing Singapore stories to the world: Jia Lee on building a home-grown animation studio

Storytelling is how we keep our cultural identity and shared histories alive. That’s something I’ve always believed. Singapore is a media-savvy nation. We consume content constantly – but how much of it really reflects who we are? Who makes those stories, and who gets to tell them?

That’s what drives me. And it’s what led me, along with four friends, to co-found Finding Pictures – an animation studio built on the desire to tell meaningful, Singaporean stories.

Beginnings in pencil and possibility

My first brush with filmmaking was in junior college. A few classmates and I roped in friends and family as actors and made a short film. It was chaotic and scrappy – but thrilling. From that point on, I was hooked.

I majored in graphic design at university, but kept gravitating towards projects that blended illustration, animation and writing. After graduation in 2016, Jerrold – who would later become my husband and co-founder – invited me to co-write What Has To Be, a short film he was directing. That collaboration became the seed of something much bigger.

It built the foundation of the friendship that would eventually become our studio.

From late nights to lasting vision

We didn’t start out with a grand plan or a sleek studio. In fact, the five of us – Andre, Jerrold, Mark, Yihua and myself – hadn’t even worked together before. But over two short films, What Has To Be and Automatonomy, we found our rhythm.

It wasn’t glamorous. Just five creatives huddled in tiny workspaces, animating frame by frame on weekends, wrestling with scripts and shot lists, learning the ropes as we went. The turning point came when the National Gallery reached out with a project. There was just one catch: they could only commission companies. So, we registered our company, Finding Pictures. We didn’t expect much – and were stunned when we landed the job and that gave us the confidence to dream bigger.

Laying foundations, one tile at a time

In the early days, we did everything ourselves: design, production, scheduling – all juggled between part-time jobs and side gigs. Yihua even tiled the studio floor by hand, while my dad built our first computers. One of our teammates’ fathers gave us office space rent-free for over a year. When Covid-19 hit and we lost access to our workspace, it was our friends in the industry who stepped in to help.

Industry veterans like film director Eric Khoo and theatre director Beatrice Chia gave us our earliest animation projects. We recently reunited with Beatrice to create multimedia animation for the Singapore Pavilion at the 2025 World Expo – a full-circle moment we’re still grateful for.

People often advise fledgling studios to take every project that comes their way – just to stay afloat. But we decided early on to only take on work that resonated with us creatively. That choice was risky, but it helped us build a portfolio we’re proud of.

 Experimentation and evolution

Over time, we found ourselves drawn to experimentation: a papercut stop-motion film (Piece of Meat) and The Visit, a personal, emotionally charged film set in a recreated Singaporean prison, among others.Each project was a creative leap. But together, they shaped what Finding Pictures is today.

Some of our most joyful moments came not just from the work, but what surrounded it: Watching Piece of Meat and The Visit premiere at Annecy International Animation Film Festival in 2019 and 2021;flying to Osaka to mark our seventh birthday as a team, while wrapping our animation for the Singapore Pavilion. Small celebrations, but deeply meaningful.

Grit behind the craft

My role has evolved over the years, but I’ve grown especially drawn to creative producing – a discipline that blends the creative and operational aspects of filmmaking. Many of our projects often require R&D and unconventional problem-solving.

Our recently completed series Zombie Safari was one such challenge. We built a fictional zoo from scratch – right down to the manhole covers. It took weeks of collaboration between directors, artists and the 3D team to bring that imagined world to life.

Leadership at Finding Pictures has always been collaborative. All five of us remain close to the creative work, while rotating administrative responsibilities. It’s not the most conventional structure, but it’s what’s kept us grounded – and allows us to step back when needed.

 Setbacks that shaped us

In 2019, we were commissioned by Hooq to create a pilot for our first original TV series. It was a dream project – until the company was suddenly liquidated. We never recovered the fees. It was a sobering moment.

 Then came Puberteens in 2022 – our first long-form series, and a steep learning curve. New pipelines, new software, a freshly assembled team. That experience, more than any award, was what taught us how to grow.

Producing good work while keeping grounded

Some of the moments I cherish most aren’t about red carpets or accolades. They’re from kids who sent fan art after watching Puberteens. Or students who told us that The Road Ahead MV inspired them to pursue animation. Recognition does help. We were stunned when Piece of Meat, made in a cramped Woodlands studio, was selected for theDirectors’ Fortnight in Cannes. That moment gave us a kind of quiet confidence – proof that stories from small studios could stand on the world stage.

The changing landscape of animation

In recent years, there’s been more support for local filmmakers – through grants, platforms like the Singapore International Film Festival, and festivals like Cartoons Underground. But more can be done, especially in education. Watching local films is one of the best ways to support local storytellers – and I’d love to see schools focus more on film literacy.

There’s also still the lingering notion that creative careers are less viable. Even my own parents once worried I’d become a “starving artist.” But from experience, I can say this: while creative work rarely leads to ultra-high incomes, it is sustainable. It’s fulfilling, meaningful –  and valuable to society.

Drawing new futures

Looking ahead, we’re excited to explore new formats, deepen our repertoire, expand into new technologies and continue pushing the possibilities of multimedia storytelling.

Further down the road, I’d love for that first feature to come to life –  and for it to travel the world.

And as someone who once questioned whether a creative career could last, I’m heartened to see more women stepping forward –  not just as artists, but as founders. There’s been a real uptick in female talent across animation and live-action. Now it’s about creating space for more of those women to lead, and to build.

Because at the end of the day, it’s not just about building a studio. It’s about building something that matters that also lasts.

Play

Watch Jia Lee’s inspiring story in Episode 3 of Singapore Dreamin’, a heartwarming makeover series that gives local SMEs the tech, work, and confidence upgrade of a lifetime. Hosted by Irene Ang, and empowered by Singtel, these stories show how every dream can come alive with the right tools and guidance. And to that, we say: Hello, possibilities.