On his return to Singapore from the US in 1992, globalisation and the homogenisation of culture and images, as well as technology such as cloning, became the focus of Vincent’s work as he engaged with contemporary Southeast Asian urban life and consumerism, as well as questioning Singaporean social and cultural values. This can be seen in his famous Mountian Cow Factory series. The title of this series of works were deliberately misspelled, and made in multiples, they were also a comment on the major breakthrough in science of the time, the cloning of Dolly the Sheep. The series had a Warholian quality, with vibrant bright colours, and like Warhol, Vincent produced multiple versions, altering only the background colours. This series of multiple cow paintings were paired with life-sized sculptures of cows that were placed in public places.
Celebrated as an enfant terrible of the Singapore art community, he is a pivotal figure in the alternative art scene in Singapore.
