Friday, February 6, 2026

Baby’s Play: With INDERGARTEN, Yellow Nostril Studio Returns to First Ideas


In 2025, Yellow Nostril Studio prolonged the INDERGARTEN assortment with ‘A Second Discipline’, introduced at LICHT Gallery in Tokyo. The chance to exhibit arose via an natural change with LICHT’s founder and director, Mitsuo Suma, who had first seen their work at Mini Pon Ding. Later correspondence led to an invite. “Mitsuo-san was very supportive and open-minded,” displays Ho. “He informed us to only create what we needed to create, with no restrictions.”

Constructing on their earlier explorations, this new physique of labor deepened their strategy of intuitive making: “a return to stacking, arranging and imagining with out instruction.” The items grew to become less complicated and extra distilled. “The work has developed. Despite the fact that we saved the identical idea, the items we designed grew to become less complicated.”

The 1,2,3 Chairs embody this shift. “We used one kind of wooden, strong spruce, and stacked it. The simplicity got here from Muyi beginning to rely, which is the place their names come from.” The supplies replicate this readability. “For ‘A Second Discipline’, we labored with spruce, cedar and beech to see what concepts we might create.” Ceramics entered the dialog in a Tetris-style configuration. “We mixed the supplies, becoming the ceramics precisely to the scale and top of the wooden.”

A palette of pure tones emerged from shut remark. “We developed round 20 new colors for the ceramics, impressed by the sky in Berlin,” Ho says. The wooden – sourced in customary columns of 10×10 cm and eight×8 cm accessible at German constructing provide shops – was left uncooked and unembellished to focus on the fantastic thing about its pure grain.

Altogether, the exhibition at LICHT introduced collectively 20 items – “50 p.c outdated works, 40 p.c new, and 10 p.c unique items” – throughout adult-sized 1,2,3 Chairs, modular facet tables and puzzle-like wall objects. Suma selected to show the works on plinths composed of concrete, stone and carpet, making a tactile setting that stepped away from the sterility of a white dice and nodded to the pair’s architectural backgrounds.

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