Designed by Sona Lee
leesonassi@gmail.com
Designed by Sona lee
leesonassi@gmail.com
Hello, could you please give us a brief introduction about yourself?
Hello, I am An Eun-kyung, a metal craft artist. My work focuses on the theme of tradition and modernity. I combine the modern technology of 3D printing with the traditional technique of lacquer to create convergent metal craft works.
What inspired you to create craft works that combine tradition and modernity?
In a graduate school class, I was once given an assignment on the topic of 'the boundary between tradition and modernity'. At that time, I explored traditional and modern craft techniques and thought about my future craft work. The development of modern industrial technology has brought about significant changes in the craft field. By accepting digital technology as a tool, crafts are evolving into a new dimension.
When making something, 3D printing is usually used for modeling. I thought, what if I directly apply lacquer on these printed objects to create works that combine tradition and modernity? Lacquer was a technique I had always wanted to try. The starting point was to create functional objects with a modern aesthetic and form by utilizing two contrasting techniques.
By combining them, you must use various materials besides metal.
The material used for 3D printing is PLA, an eco-friendly resin made from corn starch. It's a bio-plastic that is harmless to the environment and the human body. Lacquer is a natural paint obtained from the lacquer tree. By using eco-friendly materials instead of non-degradable plastics or industrial paints, I aim to add craft value and pursue the production of sustainable craft products. I want to create a new form of craft where nature and artificiality harmonize, not just combining traditional and modern techniques.
When combining tradition and modernity using various materials, is there anything you pay special attention to?
I create my own forms by interpreting them in a modern way, as a convergent form of straight lines and curves. I try to express a modern feel by using soft colors through color matching or applying raw lacquer and black lacquer that go well with metal.
What difficulties do you face while working?
When I started 3D printing, I went through a lot of trial and error. Among them, the difficult part was reducing the error that occurs when combining 3D printed objects with metal. Due to the characteristics of 3D printing, a slight shrinkage occurs during the printing process, making it difficult to obtain the desired dimensions accurately. It is necessary to continuously check and adjust for minute errors of 1mm. I reflect the expected shrinkage error during the printing process in the design stage. After printing, I measure it again in detail and go through repetitive test prints to obtain accurate dimensions. Through these efforts, I try to minimize fine errors so that the two materials combine well.
There must be many things to consider when combining materials.
Once the form comes out first, I usually make it in a way that gives it a suitable function. The point at which the function is given is also when I decide which part will have metal and which part will be 3D printed and lacquered. At this time, in order to achieve maximum harmony, I preview it through 3D program rendering and also look at samples after actually printing them.
I strive to maximize the morphological characteristics of each material while considering the material properties and manufacturing techniques, so that the metal and lacquer harmonize. Compared to metal, which takes a long time to create large and complex shapes due to its hard properties, 3D printing using PLA material is relatively quick to produce and easy to process. I combine these two contrasting materials and techniques to complete a natural and harmonious design. I hope that all elements appear natural and smooth within a single object, rather than one material standing out more.
How did you start crafting?
I worked as a jewelry designer for 10 years. While working in the domestic and international industry, I began to feel a sense of consumption as I saw things being made and discarded quickly according to rapidly changing trends. At some point, I thought, 'I want to make something slowly and use it for a long time,' and this led me to enroll in a graduate school of metal crafts. Actually, before going to graduate school, I taught students about jewelry accessories based on my practical experience. So I chose to go to graduate school to teach better. But as I attended school, I became very interested in making and expressing things, so now I live as a full-time artist.
I'd also like to hear about the birth of the brand "EKACRAFT".
I pondered about metal craft products that could appeal to the public. In order to make metal material feel familiar, I started making incense tools. I thought metal would be good as a material for tools when I burned incense, and as I made and used them, I started product development. That's how the brand EKACRAFT came about.
The "EKA" in EKACRAFT originated from the initials of my English name, but in fact, 'EKA-' is also an expression for an undiscovered unknown element. It symbolizes the study of the 'unknown realm' that connects and fuses straight lines and curves, planes and curved surfaces, tradition and form.
Where do you usually get inspiration when creating?
Before creating something new, I sketch, and most of them start with straight lines or circles. I wondered a lot about why that is, why my formative nature starts with something solid and linear. While working in the company and in the industry, I was more accustomed to industrialized buildings or systems rather than natural things. In a way, I thought that such simplicity could be a strength, and I think I made the most of it.
Is there anything you regret or hope for while working as a craft artist?
Metal crafting is actually hard work. Metals are hard, and technical proficiency is important, such as soldering or welding things with different physical properties. Many people seem to think that craft products are expensive or unnecessary when they see them. However, those who have used or owned them once seem to keep them close or continue to use them with the thought of 'I want to keep it close'. If I could wish for something, I hope that more craft exhibitions will be held in the future, so that the public will have more opportunities to encounter crafts. I hope that craft products will be in the closest places to people.
When is the happiest moment for you?
I think the happiest day is when I send out products or works. Sometimes when there is a flood of orders, I feel a lot of physical limitations, but in the end, when I send out the finished products, I run a circuit of hope that the recipients will have some joy. That's when I'm the happiest. Also, as I mentioned earlier, when I meet the audience and have conversations at art fairs or exhibitions, I feel pride and joy when I talk about why I made it, how I made it, and so on.
Do the direction of the craft artist An Eun-kyung and the direction of the craft product brand EKACRAFT coincide, or do they pursue different textures?
I consider EKACRAFT and An Eun-kyung to be one. The formative nature contained in my works and EKACRAFT products is the same. It's just that they are divided into works and products depending on how densely they are made.
What are your future plans as an artist? I'd also like to hear about the direction of your work.
I plan to create objects with new forms and functions. I want to further research various changes in size and practical functions to create vessels with beautiful shapes while having functions. Rather than technical development, I want deep development, and I think about working with more density in my work. I plan to study various forms and lacquering methods.
Last question. What kind of person do you think you are?
Actually, I don't really know. However, I want to be a good person. Rather than being a certain type of person, I just want to be in a comfortable state. So I hope my works also look comfortable. Whenever I meet someone, I often think that I hope I'm not an uncomfortable presence. I hope to be such a good person.