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PaperBricks Pallet 2016, paperbricks

Using the PaperBricks, the PaperBricks Pallet series were created to show how the PaperBricks could be used constructively. The series consists of two coffee tables and a bench.

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PaperBricks Pallet Coffee Table Detail

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PaperBricks Pallet Bench , 2016

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PaperBricks Pallet Series, 2016, paperbricks

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Alchemist’s Furniture 2017, newspaper, wood glue, wood

The Alchemist’s Furniture is series of furniture which explores the transformation of a material into another element through the application and the technique. Paper is sculpted into branch like structures which has the aesthetics of a marbled stone, while having the tactility of both rough stone and soft paper. Just like an alchemist would, a lifeless material from old newspapers have been given a new life as a furniture of another element.

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WAXED 2015, paraffin wax, wood

Wax is a material which gradually disappears over time. With this project, I wanted to use the wax to freeze the time and also hold the construction together.

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PaperBricks_Sculpt series 2017, paperbricks, paper, wood glue, wood

PaperBricks_Sculpt series is an exploration into the material and its contrasting characteristics. Paper can be both soft and hard, rough and smooth, systematic and irregular which can be seen in this series. The soft surfaces, rigid shapes in contrast to rough and natural forms. The contrast is also in the way of working. The mould manufactured bricks to freely sculpted legs.

WooJai Lee is Korean - New Zealander designer based in Eindhoven, Netherlands. He likes to work with different materials, experimenting and exploring their hidden potentials. He works in both constructional and sculptural ways, mixing the qualities of the two to create unique style of works. They are highly influenced by his interest in materials, craftsmanship, drawing and sculptures.

WooJai Lee

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According to Lee, colors of celadon are more varied than those of white porcelain. He likes to experiment with different shades of celadon depending on the form and usage of his works, rather than being confined to the traditional celadon color. His favorite Goryeo celadon patterns are the early ones with clear drawings using the sanggam technique. He strives to create sophisticated celadon works with vibrant colors that balances simplicity and touch of drawings.

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The colors, forms, and expression methods of the Goryeo celadon are indeed superior but it is equally important to evolve that style into a new direction that people of our times can relate to. Therefore, Lee’s tableware works have developed in its color, form and patterns in a way that fits naturally into our modern lifestyle. By combining the understanding of traditional potteries and its techniques with that of the modern lifestyle, Lee, Eun Bum is creating the contemporary celadon works of our times.

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He also frequently visits old celadon remains throughout the Korean peninsula to study the broken pieces and how they differ across the regions, continuously studying the different effects of clay & glaze combinations.

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Lee is a superb engineer who advances the techniques of the traditional celadon but he is also a designer who creates objet that blends well into our modern lives. He aims to create the new celadon of our times that combines the sophistication of the lines and elegance of pure celadon. He constantly updates and improves his celadon works, treating it as a living entity that grows and matures.

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I like works that have been created with a great deal of care and effort. I also find witty works interesting, but I prefer works that make me want to keep them by my side because they reflect so much of the love and sincerity of the person who made the work. I am always thankful to the works that are made with love and warmth for the viewers and users.

I hope that my work does the same and try to place my utmost efforts at every moment. I often stroke my daughter’s head, just like my mother did for me. When doing so, I realize that the touch of my mother is the same as mine. I create works with the same heart and the same hands, as if I am praying.

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“Beop Go Chang Sin (法古創新),” the four-character idiom, refers to the spirit of creating the new, based on the old. One must learn the old, yet learn it thoroughly, and one must create what is new, yet it must not be solely new.

If the old is not learned thoroughly, then the essence cannot be ascertained and therefore becomes a fabrication. If the new is created yet is not beneficial, then it becomes trash. I always promise myself to become neither a fabrication nor trash. I also believe that this work must be that of joy. I believe the most important thing as an artist is to work joyfully, for the sake of a happy life. In that way, the positive energy will likely be reflected in my work.

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Lee Eun Bum graduated from department of Ceramics at Hongik University in 1992 and started training in Onggi making. He has been introducing his works in five solo exhibitions as well as many other group exhibitions such as ‘Design & Color’ at the International Ceramic Center at Icheon and “Croisements vers la communication” in Paris hosted by IAC.

His works are part of the permanent collection at Chosun Hwanyo Museum in Gwangju as well as Korean Cultural Center in UK. Today, he is back in his hometown in Eumsung, working away in his self-made studio to create works that are contemporary while respecting and borrowing from the traditions and heritage of Korean pottery techniques.

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Kiwa Console

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Kiwa Console detail

Chulan Kwak asserts that crafts are theoretically the result of ‘a blend of concept and tangible materials.’ From the point of view of craftsmanship, however, such notions arise from intuition. Conceptions of craft and design may stem from the needs and wants of the market, but it is the artist who plays the critical role, lending form. For Kwak, designed objects are more than commercial products for the consumer; rather, they are tangible archives of his personal experiences. This very philosophy is what distinguishes Kwak as an artist among designers.

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Kiwa Desktrays

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Kiwa Desktrays detail

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Kiwa Bench

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Kiwa Bench detail

Recognized by artists from diverse disciplines such as architecture and ceramics, Kwak’s extraordinary work distinguishes itself by his choice of media. The artist’s interdisciplinary approach reveals a dialectical process: crossing many boundaries and inviting organic outcomes through the association of disparate materials.

For Chulan Kwak, his creative practice is the de-contextualization of given frameworks and the formation of entirely new social contexts. The artist picks out minute changes in the mundane and ordinary, and employs them as critical elements for dialog. In this dialectic “form-giving” process of materializing the dematerialized, Kwak takes a step closer to mastering his creative vision of blending logic and intuition.

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Kiwa Vases

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Kiwa Sets

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Kiwa Accessary Box

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Kiwa Tray

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Kiwa Trays

Chulan Kwak graduated with a BFA in Woodworking & Furniture Design from the College of Fine Arts at Hongik University. He then acquired his MFA in Contextual Design at Design Academy Eindhoven in the Netherlands. Upon re-entry, Kwak pursued a career in design. He is currently a faculty member at Sangmyung University.

Kwak has been actively exhibiting since 2011 including solo shows titled (The Next Door Gallery, Seoul Korea, 2011), (Templehof Berlin, Berlin, Germany, 2012), (Stockholmsmassan, Stockholm, Sweden, 2013), and (Les Docks, Paris, France, 2014). Kwak has participated in the group exhibitions (Westergasfabriek, Amsterdam, Netherlands, 2010), (Nova Gallery, Eindhoven, Netherlands, 2010), and (Culture Station Seoul 284, Seoul, Korea, 2012), to name a few.

Chulan Kwak







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