Being and Nothingness - A Discourse on Identity New Works by Nathan Yong

Being and Nothingness – A Discourse on Identity
New Works by Nathan Yong

28.09 // 16.10 2024

[Key Highlight Rendered Image] Article no. 11, Mirror finish stainless steel, 248 x 182 x

Article no.11, 2024, Mirror finish stainless steel, 62 x 182 cm (Editions of 8)

Image credit: Nathan Yong Design

“I aim to blur the lines between design and art, pushing the boundaries of their intersection. This latest series of works embodies that exploration. I see design as an emotional language, not just a functional tool, but one that conveys feelings, provokes thought, and fosters connections. I want these works to be known for drawing inspiration from the urban landscape, transforming everyday visceral images into meaningful discourse on existential.”

“As a creative person, my goal is to take the complexity of urban life and turn it into art that speaks, resonates, and elevates the everyday into something much more significant.” - Nathan Yong.

In conjunction with Singapore Gallery Month 2024 and Singapore Design Week 2024, artcommune gallery proudly presents the new solo exhibition of trailblazing industrial designer and artist, Nathan Yong (b. 1971, Singapore). The exhibition features 11 limited-edition designs crafted from stainless steel and in the typology of everyday interior objects: sofa, lounger, chair, bar stool, standing screen, and vase. Sculptural, sleek and thought-provoking in shapes and polished to a mirror finish, these works overturn conventional expectations of industrial design and push the symbiotic interdependence between form and functionality of such objects beyond their familiar material and presence.

Article no. 1, 2024, Mirror finish stainless steel, 110 x 62.5 x 70 cm (Edition 1)

Image credit: Nathan Yong Design

The marriage of art and industrial design is an artistic process well explored in the creative world. Ushered in by the likes of Western artists such as Donald Judd, John Chamberlain and Dan Flavin, who opened up a new entire visual vocabulary since the 1960s, this practice has continued to inform contemporary currents of art and industrial expressions in myriad ways. In Singapore, however, this remains a niche exploration and an undercelebrated creative practice. With his exceptional background in design and craftsmanship, Nathan’s interest in challenging and bridging the formal expressions of art and object design has been at the forefront of his exploration with industrial materials over the decades. Being and Nothingness – A Discourse on Identity showcases Nathan’s latest series of work, through which he examines the relationships surrounding material design, space and identity.

In the realm of Singaporean artistry, the choice of stainless steel pipes and sheets as a medium carries profound symbolism, reflecting the cultural and societal ethos of the nation. This medium, inherently sleek and efficient, evokes a paradoxical narrative, oscillating between cleanliness and coldness, efficiency and a lack of warmth. Just as polished stainless steel mirrors its surroundings, there is a reflection of Singapore's societal fabric where efficiency often prevails, but at times, individual identity can feel overshadowed. Singapore, a city-state known for its modernity and progress, is often portrayed through the lens of efficiency and cleanliness. The use of stainless steel as an artistic medium echoes these themes, embodying the precision and orderliness that define the cityscape. The smooth, unblemished surfaces of stainless steel pipes and sheets represent the meticulous planning and execution characteristic of Singapore's urban development.

However, beneath this surface of efficiency sits a deeper narrative. The coldness of stainless steel speaks to the potential loss of individual identity in a society that prioritises uniformity and conformity. Just as the reflective nature of polished stainless steel can obscure its own identity in favour of mirroring its surroundings, individuals may find themselves caught in a similar predicament, striving for perfection and assimilation while grappling with the erosion of personal distinctiveness.

Yet, there is a poignant beauty in this reflection. The mirrored surfaces of stainless steel invite contemplation, prompting viewers to question their own roles within the societal framework. The interplay between the material's reflective qualities and its inherent lack of warmth challenges us to seek balance between efficiency and human connection, between order and individuality.

Ultimately, the symbolism of stainless steel in Singaporean artistry serves as a microcosm of the city-state itself— a place where efficiency and progress coexist with the complexities of human experience. It reminds us that beneath the gleaming facade of modernity, there are nuanced narratives waiting to be discovered and expressed, inviting us to reflect on our own identities within the ever-evolving tapestry of Singaporean society.

About the Artist

Nathan Yong (b. 1971, Singapore) graduated in industrial design from Temasek Polytechnic in 1991. He began a career working in the purchasing and product development departments of various companies in Singapore. Through these assignments, he travelled around India, Vietnam, Thailand, Indonesia and other countries seeking manufacturers and craftsmen with a view of developing furniture designs and accessories for the home. He was also able to discover and acquire various skills and production techniques. In 1999 Nathan opened a small store, Air Division, to sell his own experimental creations produced by Asian craftsmen. He achieved both commercial success and critical acclaim, in Singapore and abroad.

Nathan subsequently resumed and completed his studies at the University of New South Wales, Australia, gaining a Masters in Design, summa cum laude. For two consecutive years from 2006-2007, Nathan was awarded the prestigious Red Dot Concept Design Award with his conceptual designs of a mass production coffin and a portable heating unit. Inspired by observations of the visual environment, his design creations – furniture and industrial objects - routinely challenge the physical forms and functionality of everyday interior objects. Instead of superfluous details, he captures the poetry of products through a stripping process. Objects lend qualities that are informed by a lightness of restraints.

In 2008, Nathan was awarded the prestigious Singapore President’s Design Award – Designer of the Year, the highest honour accorded to Singaporean designers from all creative disciplines. Currently based in Singapore, Nathan runs a multi-disciplinary design consultancy spanning fields such as graphic, industrial, interior and architectural design, along with strategic planning in product development, manufacturing processes and branding. He is the founder of FOLKS FURNITURE, a furniture brand that produces modern contemporary wooden furniture that is exported worldwide, and is also the co-founder of GRAFUNKT, a retail-based company that specialises in contemporary brands of furniture. Since 2021, Nathan has been the Programme Leader for the BA (Hons) Product Design of LASALLE College of the Arts, University of the Arts in Singapore.

With his exceptional background in design and craftsmanship, Nathan’s interest in challenging and bridging the formal expressions of art and object design has been at the forefront of his exploration with industrial materials over the years. Amongst his most recent projects was an installation, There in the middleness, commissioned by the National Gallery Singapore in 2021. The installation was set monolithically within the vast greenery of The Padang and distanced peripherally by the city's modern skyline. It aimed to draw viewers to its peaceful inner sanctum, lifting the spirits of the viewers to then collectively as a society reimagine new possibilities for the future. His last solo art exhibition in 2021, Farewell to Reason, featured a series of architectural objects that pay tribute to Brutalism. These thoughtfully engineered pieces are a nod to Modernism, fusing human savoir-faire, the natural beauty of onyx and state-of-the-art technology.