Beauty lies in the eyes of the beholder. And in his eyes, he sees light as a medium to reimagine beauty. Hard and soft, light creates diffusion. Lit and shadowed, it brings contrast to the composition. Tangible and intangible, light becomes this melodramatic medium that translates mood, emotions, and feelings. Malaysian light artist Jun Ong believes in these dualities — how light becomes the way his art comes to live.
“Lighting is something that resonates with a lot of people. You don’t really think about it but it’s there — there’s an emotional quality to it as well. I enjoyed working with light as a medium because it has that kind of tangible and intangible quality to it. You can touch it but you can also feel it,” he opens.
“I started working from home, in my room,” he humbly shares as he welcomes us into his new studio in Taman Desa, Kuala Lumpur. “This new studio space is something I’m embarking on right now. I’ve always dreamed to have my own studio space with the team. It doubles as both workshop and showroom — a space that enables me to formalise all these ideas and a place that’s accessible to all people.”
Architecturally-trained over a decade ago, Jun, like every millennial child in a Malaysian household, finished architecture school and did the entire rundown to be an architect. It wasn’t not until 2015, after completing his first light sculpture that he found himself gravitating towards his passion for this specific form of art — an outlet for him to express himself beyond his common practice in architecture.
“I think the ‘Star’ was the project that really kick-started my career,” he recalls of the five-storey, micro-sized starburst light installation suspended inside an unfinished, multi-storey building in Butterworth, Penang. The project, which was nominated for the World’s Best in Spatial Art at the Media Architecture Biennale in Sydney, continues to be one of his signature forms, built using steel cables and LED light strips. Beams of light burst through the building’s skeletal frame, juxtaposed in a way that invites critical thinking.
His works beckon a deeper understanding for the inquisitive minds. ‘Polaris’, created for the Amsterdam Light Festival in 2025, is a free-standing 12-pointed dodecahedron structure inspired by the North Star and maritime history — then reimagined in Athens late last year. His work is also enchanting. ‘The Bolt’ illuminated the Waterfront Promenade at i Light Marina Bay 2016, while ‘Prism’ turned The Great Hall at Millenia Walk into an interactive space during i Light Singapore 2023. Perhaps you’ve heard of Krystal Valley, Jun’s first prominent solo exhibition at the National Art Galley in 2024 that discusses the formation of crystals and his fascination towards this natural phenomenon.
Maybe you’ve seen this astral form in more recent news — the Big Bang, one of Jun’s latest creations set in a never-before-used space in Conlay by E&O. The Big Bang was part of 90D, the recently concluded immersive and sensorial dining experience that featured the spatial conversation between light, sound and flavours; a menu curated by chef Toraik Chua, formerly of three Michelin-starred Zén in Singapore.
Like his journey in life, Jun constantly moves at a speed of light — every opportunity seized, every day lived to the best one lumen at a night. “I don’t think I’ve stopped working,” he jests, looking forward to his upcoming team R&R in Shanghai in September.
Fast forward, Jun has done installations in various cities across USA, China, Taiwan, Netherlands, Greece and Singapore.
“A lot of my works presents itself more spatially and mathematically. That’s why you see these structures and geometrical shapes that can coexist within spaces. I also look at interstellar references a lot, things that can be very speculative — how does it feel to be in outer space, for that instance,” he explains. “And we use light to answer those questions.”
Never Still
Jun makes it pretty clear that he is someone who prefers to not be in the spotlight. Seated down, he straightens his jacket and pats the sides twice. He carves a coy smile, fingers fiddling a red starlike 3D-printed prototype. The RIMOWA Never Still Leather Duffle Large Black remains steady next to his latest installation work. But his left foot hasn’t stopped tapping.
“Nervous?” Jun chuckles. “Maybe, a little.”
“One thing that architecture school teaches us is that you learn to think and problem-solve. It helps you build high-pressure tolerance and stamina. You listen to the brief, dissect the matter, and come out with solutions. You make it work,” he elaborates.
The 38-year-old describes himself as a pretty chill person but retracts that quickly.
“Out of work maybe… my team would disagree with me,” he laughs. “I’m definitely a more analytical person as an artist, which is quite unusual. As the years progressed, I’ve started loosening up a lot more and trust my gut. I always trust my first instincts — if it feels good, I’d run with it. That’s how I approach my day-to-day.
“I’m also a sucker for parts, hardware and all things mechanised. Those were the elements that I’m drawn to,” he describes his first impression of having his first piece of RIMOWA, the Classic Aluminum Grid Cabin, as one of a kind.
It is almost nostalgic, as Jun continues: “My dad used to have a briefcase going to work. He’s a finance guy. When you open and close it, the snapping sound of the briefcase lock feels satisfying.”
Just like the RIMOWA Never Still Collection featuring new shapes made for purposeful, everyday travel, Jun finds appeal in pragmatism. The RIMOWA Never Still Leather Flap Backpack Large catches his attention. Crafted in full-grain leather, its embossed grooved surfaces echoes RIMOWA’s iconic ethos. Forms follow function, a padded back and suitcase attachment sleeve make the backpack even more practical than ever.
“I meet a lot of clients including prolific clients… so I want to look decent when I meet these people. And I appreciate aesthetics. Even thought your job can be ‘messy’, I usually dress minimal and focus on the accessories,” he says. “Less is more, an architect’s stereotype perhaps?”
He describes the RIMOWA Never Still Collection as very architectural and sleek; every hardware colour matches and detailed to the tee. It is also heavyweight and hardy, especially for those who are always on the ground running.
“I travel a lot, and having the cabin is great — I once brought a lamp to New York in the Grid Cabin and it really takes care of precious stuff,” he adds. Beyond travels, Jun appreciates a utilitarian bag that he can carry every day. Whether it’s the pioneering RIMOWA Multiwheel System that guarantees stable and effortless steering, or the considered compartments that befit varying lifestyle, he finds the latest offerings something he resonates as an urban creative.
He continues: “I think there’s always this attention to details and every part is designed in a way that not only functions but also serves aesthetically too. That’s also how I approach my work. Whether it’s multi-storey big or just a little project, I focus on the details that you see on a human level. Think of how space is like and how it can be beyond a painting or sculpture — it can be immersive and spatial.”
creative direction MARTIN TEO | assisted by MALLIE MARAN | photography & videography AIMAN YAZID | subject JUN ONG | accessories RIMOWA
Note : The information in this article is accurate as of the date of publication.