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.
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.
