Dragon Chair by Chulan Kwak

Chulan Kwak says craft is “to be realized by meeting with concepts and materials”, but from the point of view of craft itself, this concept is intuitively grasped through matter. Whether the idea of ​​starting design or craft is a form roll that appears as a matter of personal demand or market demand, Chulan, who says that he himself is good at giving forms to concepts with materials, calls himself ””form-giver””. For him, design does not end with giving by order, but is the artist’s own personal record, which remains as a specially shaped material. This is what makes Chulan a designer and a proud artist.

The unexpected outcome of the uniqueness of materials and techniques handled by Chulan is reminiscent of the dialectic process of harmony that goes beyond the division of genres.And his works, which make a new harmony rather than a conflict, seem to relate to the overall harmony of organic design, which does not exist only as a single outcome, but also in relation to others. Chulan says that he is concerned with how to build or rebuild a new context by destroying rather than assimilating himself in the existing context, and transforming even the small changes that come out of the plain and repetitive into elements that can create a variety of discourses. The process of ”form-giving” to materialize this immaterial concept becomes an artwork that shapes the dialectic relationship between logic and intuition.