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By Chulan Kwak

Dragon Chair | 2017

Black Dyed Plywood, Aluminum

Dimension (WxDxH):

95 x 105 x 70 (cm)

37.4 × 41.4 × 27.5 (in)

Edition of 10+2AP

Price Available Upon Request

Caoshu(known as Chinese cursive brush-writing) is the most abbreviated typeface in the calligraphy. The free flow resembles the appearance of a dragon that seems to fly through the sky.

Chulan Kwak, inspired by this movement, restructured the 2D stroke of Caoshu, which seemed to run the blank space rhythmically, into the 3D structure. He has created ‘Cursive Structure’ that functions as well as creating a contrast between the object and margin of space that changes according to the viewpoint.

In order to realize this free curved form, Chulan Kwak applied the technique of paper craft to woodwork. He first created the form through 3D software and then unfolded it to extract the accurate drawing. He used this method to precisely cut thin and bendable plywood with a CNC machine and to adhere the edges of each parts correctly in order.

Through the combination of the digital tool and craftsmanship, he was able to create the solid forms of free curves in the real world, such as those made in the virtual space. They were finished after dyeing with Muck(ink used for Chinese brush-writing) for the deep black color.

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 Kwak, 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 Kwak a designer and a proud artist.

The unexpected outcome of the uniqueness of materials and techniques handled by Chulan Kwak 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 Kwak 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 art work that shapes the dialectic relationship between logic and intuition.