We come from far away
We Come From Far Away centers on the image of a meteorite that appears to have flown from the distant reaches of space, exploring the transformations and interactions that occur over time. Crystal structures embedded on the meteorite's surface gradually erode and alter the original material, capturing the moment when diverse materials intertwine and grow into new forms. This polyhedral form, reminiscent of minerals or crystals, extends the artist's ongoing theme of Primitive Structures.
These structures go beyond simply imitating primitive shapes, instead reflecting the instinctive process of early humans who created objects with straight lines before the development of advanced technology. As the Spanish artist Gaudí once said, "God’s line is the curve, and man’s line is the straight line," the piece seeks to explore the primal line of humanity, revealing the raw beauty of the straight line as a contrast to the natural curve.
The narrative of this work is further solidified through the image of a foreign presence penetrating the earth of Asaka. An old tree stump, left for many years as part of nature in a corner of the atelier's garden, slowly experiences the creeping invasion of an unfamiliar presence through the cracks in its surface. When the erosion is complete, the tree, no longer able to maintain its original organic form, transforms into a straight-lined shape, becoming a new form as if it were a host engulfed by an alien presence.
Ultimately, We Come From Far Away suggests the potential for new, primitive vitality to emerge from the fusion of an external material that gradually overcomes and interlaces with the original organic structure, blending diverse materials to create an original form that hints at the possibility of growth and new life.
I grow from within (Crystal growth)
"I grow from within (Crystal growth)" is a work created with the artist envisioning themselves as a primitive human in a cave. The piece reflects the process of growth and evolution, starting from a deep inner place, much like a primitive person discovering the world for the first time.The cave symbolizes an origin and a limited space for exploration. Just as a primitive person connects with nature by following their instincts, the artist follows their own instincts in the creative process, linking the growth of crystals to inner development.
This work goes beyond merely depicting crystallization; it visually expresses the artist's experience of gradual change from an inner, primal space. It symbolizes human growth that unfolds over time, expanding from within, just as crystals form in nature.
PRIMITIVE STRUCTURES_Historical site
The inspiration for "Primitive Structures (historical site)" originated from the natural texture formed during the manufacturing process of Parallel Strand Lumber (PSL), which has a resemblance to sedimentary layers. PSL is created by compressing wood strands under high heat and pressure and these process is similar to the formation of sedimentary layers. Consequently, the cross-sections of PSL and sedimentary layers exhibit similar images.
To evoke sedimentary layers more directly, the material was horizontally arranged (refer to the image 3). Additionally, motifs from fossils and historical site found in sedimentary layers were chosen for sculptural inspiration.
Sedimentary layers are composed of different 'strata' with varying geological ages, each containing diverse historical site and fossils(refer to the image 2). The concept of 'historical site' typically involves circular arrangements, even marked with circular signs during excavation (refer to image 4). Hence, the circular arrangement characteristic of historical site was adopted as a significant sculptural inspiration.
The concept of 'symmetry' stands out in the context of 'fossils'. Whether in large forms like dinosaur fossils or enclosed within rocks like smaller fish or shell fossils, the use of a similar method to decalcomania—splitting fossils with precision—reveals a symmetrical composition through positive and negative spaces.
The process closely mimics the excavation process of historical site and fossils, involving manual carving and shaping of layers using chisels and hammers. This handcraft approach symbolizes the artist's immersive journey into recreating the excavation process, exploring the interconnectedness of the material and sedimentary layers.
Adopting the abstract concepts of circular arrangements and symmetry discovered through the process, the work strategically positions positive sculptural forms (like fossils) on one side and negative spaces on the other, creating symmetry around a central point. To strengthen the intended concept, mirrors are inserted into the negative spaces, enhancing the contrast of the material and emphasizing the desired theme.
PRIMITIVE STRUCTURES_Botanical
“Primitive Structures" series began to develop with blending sustainability and cultural symbolism, drawing inspiration from South Korean dolmens. Using PSL beams, an engineering wood that is made of waste materials from plywood and LVL production, the design transforms waste materials into valuable objects with historical background. This material's familiarity (like natural) stems from its manufacturing process that is similar to the manufacturing process of natural things. So, researching motifs like stones and leaf veins revealed primitive polygons in dolmens and colors observed in moss. Therefore, embodying the essence of the observed landscape, this design incorporates these elements and proposes new primitive structures in this present age. And the Structures are gradually becoming more like organisms. Expanding its territory, it is becoming more and more like nature.
These works made of PSL undergo a meticulous process. Because This material is made by waste materials from plywood. This feature makes a lot of holes. On the surface, these holes are visually incomplete and have somewhat dangerous features to use as objects. To solve this problem, I filled surface holes with the same wood chips and created a unique texture through this process. The tables' pillars, sharing the same material, feature a surface sprayed with an aluminum pearl and green pigment mixture, resembling moss. This distinctive finish showcases the wood's natural patterns, emphasizing a harmonious connection between the design and the inherent qualities of the material. Through this, "Primitive Structures" not only sustainable design but also preserves cultural and historical narratives, making each piece a meaningful expression of creativity and environmental responsibility.
PRIMITIVE STRUCTURES
In this project, I focused on two points. The first is the cycle of the material used in building process. The second is to represent ‘Primitive’ expressed by materials, based on my cultural and historical background
Primitive Structures is composed of two-words, The First is ‘Primitive’. And second is ‘Structures’. The First, 'Primitive' came from research of the material I used. Because its texture evoke primitive feeling. Those textures also represent pattern, what you can discover from nature (like veins of leaf or tiger camo). This is why I choose the title ‘Primitive’ The Second, ‘Structures‘ means PSL’s origin use. PSL is structural material what is used as the frame for architecture. So, mainly architectural motifs were used a lot.
To find an architectural motif, I focused on my cultural and historical background. In South Korea, There were many 'DOLMEN'. One research said "70% of dolmen is located in South Korea". So These dolmens are very common in South Korea. And These also represent pre-historic and primitive structural aesthetics. Then I chose these as motif. Especially I focused on stone's polygonal shape. Because I thought this polygonal shape was suitable for expressing the pattern of the material. Also in terms of color, I was inspired by the moss on the surface of the dolmen. The moss on the surface of the stone was formed over a long period of time and had pearl and parakeet green colors, and this part also showed primitive, And this motif was further developed through research to design primitive structures in the form of Inorganic.
And as I explained earlier, I aimed to sustainable design in this project. PSL is a material that has the concept of down-cycle. PSL is an engineering wood and is used as a frame for wooden architecture, also used as a stair and wall in interior. PSL beam can make using waste materials from plywood and LVL production, with species commonly including Douglas-fir, pine and western hemlock, among others. So, I thought PSL beam already had a recycling agenda on its own. When I first encountered this material, I was aware of the garbage caused by frequent interior in Korea, so I aimed to propose a Re-Recycle by making a valuable object through PSL beam.
To achieve this goal. I also used the down-cycle idea. Basically, PSL has many holes in the making process. It's a manufacturing feature of PSL, which is made by waste materials from plywood. And this feature makes a lot of holes. On the surface, These holes are visually incomplete and have somewhat dangerous features to use as objects. To solve this problem. In the process, I repeat the process of picking up fallen chips and putting them back in numerous times. And through this process, the object has visual completeness and functional safety. In addition, as an act of further strengthening the agenda of materials, the concept can be expanded to the area of sustainable craft design. And finally, I will color the finished material with pearl and parakeet green pigments to complete it.
OVERWHELMING
I was particularly inspired by the descent of birds of prey, and I wanted to abstract this. The twisting and stretching wing-shaped formations form accurate symmetry, and symmetry is an intuitive element that symbolizes power in visual art. In addition, the wings cross space and face forward, reminiscent of the downhill process of birds of prey, and strongly give mobility that seems to attack prey at any moment.
LAYER
To make furniture, bending wood is often done. There are three main methods of bending wood in woodworking: laminated bending, steam bending, and kerf bending.
The two methods have something in common in that they change the physical properties of the wood, and there is no sign that the wood is bent so that people who do not know about the wood processing technique will not notice it. And it can be molded close to the desired shape.
However, 'kerf bending' differs from two techniques. 'kerf bending' leaves only a thin part of 1 mm to 1.5 mm on the wood, and the language that the wood is bent remains strong on the surface by making cuts and bending. The traces of the bending of the wood under physical force remain. In addition, when the wood is bent through this technique, unlike the two techniques described above, the force of the bent wood to return to its original state remains strong.
I was interested that the characteristics of the kerf bending. In addition, unlike the laminated and steam bending techniques that change the properties of wood and shape it into the desired shape, the characteristics created by the kerf bending technique that gives maximum freedom to the properties of wood will naturally appear throughout the work, which will make the work attractive. Therefore, I planned to effectively show these characteristics in the process of working.
By simply grasping the power of the bent tree to return to its original state through a joint technique, it was possible to create a structure and create a shape without using glue in the process. The force to return to its original state and the structure to be held appear in the form of an arch and engage with each other through joints to have strong support. As a result, work naturally has the structure and functionality to withstand the weight of people and objects. And the language of bending is layered in layers through repetition, and the traces of wood against external stimuli are clearly but naturally shown.
Gothic Virtual Throne
The throne-shaped chair consists of a 3 mm thick acrylic pipe. Due to that. You can't actually sit down. So it doesn't meet the function of the chair at all. Also, where there's a visual brightness, Due to the refraction phenomenon of acrylic, it does not seem to exist. However, when darkness falls, it reveals its shape.
So, people can see a ghostly throne chair that clearly exists in space but can't be maintained unless they look carefully, and evoke the theme consciousness that the producer is talking about.
The throne-shaped chair of the Dark Ages was a symbol of incitement and iconography. Due to the times of frequent war, ordinary people did not have furniture. On the other hand, those in power had luxurious furniture built in immovable sizes, and the throne-shaped chairs developed in larger and heavier forms were symbols that incited those in power to worship themselves as idols and products of irrationality filled with resistance to function and technology.
I want to critically imitate the throne chair and warn against the things that no longer exist in practical forms, but are still scattered around us in invisible forms and negatively affect our lives.
In order to express this theme consciousness, I borrowed the Assemblage expression to homage specific objects through the aggregation of industrial materials, and made a throne-shaped chair. Industrial materials are a symbol of function and technology, and at first glance, it seems to be the product of the beginning of the era of rationality. However, I believe that the products of the development of functions and technologies, such as the loss of humanity, environmental problems, and the emergence of big brothers, lead to a more invisible form than a throne chair, and contain a dark era.
