Didi NG Wing Yin on the alchemy, intimacy and 'naturalness' of woodworking

Didi NG Wing Yin's works are a confluence of his Eastern roots and love for Finnish forests. Treading the boundaries of art and design, he intimately explores the possibilities of wood as a material, utilising innovative woodworking techniques to create experimental art and wooden furniture that are one of a kind.

Didi's sculptures, seating and table designs evoke a sense of freedom, urging people to perceive wood beyond what it is and has always been, especially as objects. For instance, in the Second Skin 02 sculptural art piece, the fine detailing on the dense, hard surface results in a hybrid tactility that challenges the established notions of wood as a material. By repetitively chipping away on a large surface of aspen wood, the artist crafts a non-uniform texture that resembles feathers. He channels a similar technique and intent into creating the Feather Branches III—a birch trunk cut in a transverse section, revealing the feathered texture within—and the Walking Stick and Mannequin sculptures, made from found wood and sticks to resemble the 'walking stick' insect and a human bust respectively.

Conceived as an intersection between nature and human craftsmanship, the Sprout sculpture features a handcrafted sphere of processed, compressed wood, exhibiting a crack from which a dried branch emerges. The furniture design of the Soft Bench utilises two distinct craftsmanship methods with spruce wood, comprising two legs made directly from a plank and the long seat created out of a flat grain surface. The wall sculpture Crossbreed 2.0 features an extended arm carved from a found branch, attached to a piece of wood dyed with neon ink, demonstrating a mini screen. The Pleats coffee table has a similar graphic character, strikingly contrasting authentic wood grain against black dye through simple carved geometry.

For the Pleats benches, the furniture designer uses the splitting and brushing technique on pinewood to achieve a uniform pleated texture, resembling folds of soft fabric, highlighting the fragility and lightness of the wood. Didi employs a similar technique to craft the fir wood Soft Structure and Handkerchief, which function as wall sculptures. They are finished with layers of diluted ink to impart a seamless gradient effect. The Rocket side table manifests from the simple concept of creating an object that evokes the shapes of a rocket during launch. What was originally a small pine chair sitting in a flea market, is transformed into a sculptural design piece as he envelops it in leftover wood bark. By combining two discarded elements to create the Abandoned chair design, Didi reinstates the significance of lost and neglected objects.

Making Natural Sense, Didi's most recent solo exhibition in Helsinki, Finland, at the GAo ShAn art gallery, celebrated the creative's alchemy and intimacy with wood, underlining his artistic vision of materialising the dialogue between nature and man-made interventions.

In a conversation with STIR, Didi discusses how his work "is rooted in experimenting with innovative surface treatments and wood carving techniques," apart from his creative inspirations and the influences that drive his timber designs. Below is an edited excerpt from the interview:

Bansari Paghdar: You were born in Hong Kong and currently reside in Helsinki. Could you tell us how you navigate and synthesise this identity in your art and design practice, blending essential elements from both Asian and Nordic influences?

Didi NG Wing Yin: Moving to Finland marked the first time I had left my home for an extended period. Before this, I wasn't fully aware of the uniqueness of Eastern culture and aesthetics. The longer I stayed away, the more I appreciated how distinctive my home culture is, particularly in terms of its crafts and history. During my studies, I was fortunate to have excellent teachers and masters who shared their experiences with me, enhancing my understanding of Finnish craftsmanship. While I can't pinpoint exactly how I integrated and merged these two different cultural elements, I believe I've chosen effective methods to apply in my artwork, which incorporates aspects of both Eastern and Western practices.

Bansari: What is your design philosophy?

Didi: My creative approach emphasises a balance between the essence of wood, the intuitive nature of craftsmanship and conceptual exploration. The foundation of my work is rooted in experimenting with innovative surface treatments and wood carving techniques. Rather than exerting strict control over the material to achieve a predetermined form and shape, I prefer to engage with the inherent qualities of wood. This allows its natural properties to guide the creative process, honouring the intrinsic characteristics of the material.

Bansari: What draws you to woodworking?

Didi: I find it difficult to provide a definitive answer. I've been working with wood for a long time and haven't considered using other materials. Perhaps I simply enjoy the experience of working with wood. I don't feel the same joy when I work with ceramics or metal. I have learned a lot from working with wood as well as the material itself.

Bansari: Could you elaborate on how you perceive the beauty of wood as a material and medium, its potential and drawbacks?

Didi: Wood is a unique material compared to others. It is organic and doesn't require industrial treatment to become usable. Working with wood is straightforward and allows you to feel close to nature. I really enjoy using hand tools to work on wood. The woodworking process at the beginning is more brutal, like splitting wood. Big and fast actions. As we begin to shape the wood, the process slows down and becomes more delicate, allowing for greater sophistication. I truly embrace feeling these changes in my work process. Crafting a piece of wood is more about adapting to its natural properties and being guided by them. The drawbacks may be that crafting a piece of wood is a negative process (removing materials) and I must think carefully before I cut. However, adapting to it is an essential part of the crafting process.

Bansari: What is NEXT for you?

Didi: I will have my next solo exhibition at Lokal Gallery in Helsinki at the end of February. I have also been selected for a residency at the Röhsska Museum in Gothenburg during March and April. Around the same time, I will participate in a group exhibition hosted by the Lyle Gallery in New York. Additionally, our collective space, Minestrone Workshop, will hold an open studio during the Helsinki Design Week in September, showcasing our latest works. In November, I will be exhibiting in a group exhibition titled The Nature of Wood at Spazio Nobile Gallery in Brussels.