Dblspce
On the second floor of Peninsula Shopping Centre, tucked amid camera shops and vintage clothing stores, lies a curious bare space. There is a sense of rawness to the unit, filled with natural light from its large, red-framed windows—the patina of its floor tiles a reflection of the old strata mall it sits within. Some days, it is filled with installations large enough to cover the whole room. On others, fascinating objects beckon passers-by to step in and explore.
This is Dblspce, an incubator dedicated to artistic practice. Run by co-founders Sab Koh and Kimberly Shen—the former the associate dean of the School of Fine Art at Nanyang Academy of Fine Arts, the latter a curator and educator—its approach is two-pronged, with an artist residency and a mentorship programme.
“We came across this beautiful yet rugged space, and it reminded us of the skinny houses in Amsterdam. We had the simple dream of starting a studio and inviting practitioners from different fields to come together. Hopefully, something creative might happen, certain gaps may close and new friendships can form. Some people view this as a passion project, but I think it is deeper than that,” shares Koh.
“During the pandemic, we were forced to rethink the ways we make art. We could no longer be driven by the notion of efficiency and of constantly producing works,” adds Shen. “Launching Dblspce during that time was an opportunity to reflect on that. We see Dblspce as a place for mediating the thinking and the making, and for artists to take a step back and reflect on the nuances and the ethos of their practice.”
In the three cycles of artist residencies it’s had since 2021, over 25 artists and collectives have filled the space with a diverse range of disciplines ranging from visual arts, theatre and film to fashion, architecture and art therapy. “The residency is not outcome-driven, giving artists the space to explore, experiment, disrupt, fail or revisit ideas in their sketchbooks that have yet to be realised,” shares Shen.
“Art is experienced, consumed and appreciated on so many levels. There is not just one approach or one way to grow a relationship with art”
It is on a rare day when the space is empty, between its recent activations for Singapore Art Week and the open call it’s about to put out for its next cycle of artists-in-residence, that we gather at Dblspce for this shoot. Greeted by the charm of the space—the same blank canvas that the artists are afforded when they begin their residency—it’s easy to see how inspiration sets in. “Being situated here offers an unusual context and intervention to artistic practice. We are inspired by the rawness, the historical remnants in the space and the shared layers of culture embedded within the building,” explains Shen.
Beyond that, it was also important to Shen and Koh from the start that the space sits in a public and easily accessible environment. “We aim to shed light on artists’ processes, which are often not visible to the general public. We have therefore left the space quite open so that visitors to the mall, who may not be regular art-goers, are able to observe them at work. Sometimes, that view is messy and chaotic, but these are artists in their natural habitat,” shares Shen.
In staging art in a mall, Dblspce introduces a new way for all to discover it. “Art is experienced, consumed and appreciated on so many levels. There is not just one approach or one way to grow a relationship with art. It could be as simple as taking a moment to be with an environment, or as complex as becoming an art connoisseur of high taste. Everyone determines the personal relationship that they have with art,” muses Koh.
At Dblspce, artists are welcome regardless of discipline, and audiences regardless of artistic knowledge or experience. “Singapore thrives on communities. Efforts that are community-driven or community-inspired tend to hold the power to move, question, evoke and shape our narratives,” continues Koh. “We value the authenticity that every practitioner, audience member and member of the community brings into our space.”
Perhaps what best encapsulates Dblspce’s philosophy and the meaning it has brought to its community, then, is this anecdote that Shen shares: “One of our artists-in-residence told us that our building’s security guards look forward to our monthly artist activations. It is a highlight for them to see what these artists are up to, and it livens up their daily duties. I think that is heartwarming and encouraging, that the space can touch those who may seem to be excluded from the usual highbrow arts community.”
Art Again
There are plenty of platforms where one can buy or sell preowned art online, but none in Singapore that are as effective as Art Again. A digital secondary art marketplace that allows anyone to sell works from their personal collection, the site helps directly connect buyers and sellers.
A diverse range of works, many of which are by local and regional artists, populates the site. Click on each listing and you’ll find a concise summary of the piece’s price, measurements, medium and condition. Below, a couple of lines from the seller provides some insight into their relationship with the work—be it their thoughts on the artist or what first caught their eye about the piece.
It’s a remarkably intuitive platform, so much so that it nearly belies the amount of work that goes on behind the scenes. With each seller who comes on board the platform, a member of the Art Again team meets them to photograph the artwork, collate all necessary information and list the piece on their behalf. After all, when it comes to the secondary art market, good photography and accurate documentation can make all the difference.
Founded by former lawyer turned creative entrepreneur Milon Goh and gallerist Chingyi Chua, the site has grown significantly and organically since its inception in May last year. The ease at which Art Again fits into Singapore’s existing art scene makes it almost surprising that it’s taken until now for a platform like this to be created.
Goh shares: “In late 2022, a dear friend’s mum was looking to sell artworks that she had on display in her home for many years. I approached Chingyi with this issue given her extensive experience working in the art industry. When neither of us could find a viable solution, we decided to build Art Again together.”
“Art Again is, to a large extent, built on the support and advocacy of our friends in the community. The best way for us to give back is to foster new patrons of the arts”
“I immediately took to the idea of a secondhand art market,” adds Chua. “Throughout my career, my clients have consistently presented me with the same conundrum. A platform like Art Again was long overdue and necessary to fill the gap.”
For the art community, Art Again addresses a need that has long been there—a dedicated platform that collectors can turn to for the purpose of buying and selling pre-owned art. But for the wider public, the site is also an invitation for people from all walks of life to begin their own journey with art collecting.
Goh points out: “The idea of art ownership is still a foreign concept to many. Accessibility starts with exposure and conveying the right information in the right ways.” At Art Again, the collecting experience is made as transparent and accessible as possible. Sellers are given full autonomy to price their works, and buyers are given all the information they require upfront to make their decision.
To introduce art-making to the masses, the platform also hosts community events such as live drawing sessions, where experienced artists and newcomers alike can come together. This, too, is Art Again’s way of contributing to the community that it’s a part of.
Chua concludes: “The art and creative community in Singapore has always been mutually supportive and encouraging. Art Again is, to a large extent, built on the support and advocacy of our friends in the community. The best way for us to give back is to foster new patrons of the arts.”
Supper House
There were no completed works of art at Supper House’s latest exhibition. Rather, Nothing But a Day Dream functioned as a process-driven residency, where 14 promising young artists were given the space and the freedom to create. As the artists brought their ideas to life across the span of a month, visitors were invited to drop by and chat to learn more about their craft and process.
Like the title of the exhibition suggests, works leaned toward the surreal and temporal. When I visited a couple of weeks into the run, I found Liz Zhu crafting a corset for a pillar, a visual representation of the unrealistic expectations that society places on body shapes. Terry Lim and Nicholas Tan had stitched Comme des Garçons Play shirts together in creative permutations to create a capsule collection of unique draping silhouettes, while Elizabeth Kezia and Nicholas See were creating a cyber shrine to explore shamanism of the future.
The breadth of works on display—across disciplines, mediums and concepts—as well as the openness with which the artists interacted with the community have become hallmarks of Supper House’s projects. A creative drawing room where art, design and fashion intertwine through interdisciplinary exploration, it is guided by the motivation to create space for meaningful conversations.
This concept, founder Ashley Chiam shares, took shape during his stay in Hong Kong right before the onset of COVID-19. “Witnessing the resilience of Hong Kongers and the vibrant experimental creative spaces throughout the city made me ponder the potential for art in a space like Singapore. In Hong Kong, there was a notable respect for arts and culture, along with a greater presence of corporate foundations, family offices and dedicated art spaces. This fostered an environment that appreciated art and its peripheral markets,” he explains. “In contrast, Singapore tended to lean towards commercial and results-oriented endeavours. Recognising a gap, I saw the necessity to establish a space like ours that could provide vital bridging support to the ‘in-betweens’ of the art community.”
Thus came Supper House, born of a desire to dismantle the silo mentality in Singapore—achieved by bridging different creative disciplines and industries, and providing the necessary connections for artistic growth and recognition. “The name Supper House is derived from the communal tradition of supper, where family and friends gather for shared meals and conversations,” shares Chiam. “Coming together for supper symbolises the nourishment of both body and spirit, underscoring the importance of shared moments in different aspects of life. It signifies a moment to offer sustenance, be it through a meal or a shared artistic experience, fostering a sense of fulfilment and connection.”
“I believe there is potential for substantial generational shifts if more independent spaces like ours are given the chance to grow”
This sense of community that Supper House has created becomes apparent when we gather on the day of the shoot, as Chiam enthusiastically greets Chua and Goh from Art Again. The duo’s first in-person community event last year, we learn, was hosted at Supper House’s former studio space. As the room fills with chatter, we also learn that Zhu, who exhibited at Supper House’s most recent production, was previously an artist-in-residence at Dblspce.
Indeed, Supper House is as much about the art as it is about the meaningful conversations and connections formed between creatives and with the general public. “I place great significance on connecting art with the masses, rather than confining it to a specific section of society. I believe art should not be solely reduced to a commodity, an asset class or a tool for self-expression. Art is an integral part of culture that serves to inspire. While this may be contentious, I feel that it has the power to inspire every aspect of life,” muses Chiam.
Little by little, it is spaces like Supper House—and Dblspce and Art Again—that help the art scene in Singapore continue to evolve and thrive. “I don’t expect significant change in my lifetime, but I believe there is potential for substantial generational shifts if more independent spaces like ours are given the chance to grow,” Chiam reflects.
For now, however, change takes the form of smaller, but no less meaningful, acts. “Each time we witness artists expanding their reach to a new audience, it feels like a small victory. Hearing someone express surprise at Supper House productions, noting that they’ve never realised art and design could be so welcoming and accessible, holds special meaning for us too. Each newly engaged individual finding solace in art and design contributes to a deeper understanding and appreciation for the arts. I envision them not only relishing their insights but also sharing them with others, perpetuating the idea that art and design can enrich our lives.”
Photography Sayher Heffernan
Styling Nicholas See
Hair and make-up Hazel Tan and Jen Lim/Makeup Entourage
Stylist’s assistant Hayley Rikke Lee
Order your copy of the March ‘Dualism’ issue of Vogue Singapore online or pick it up on newsstands now.
