Hongjun Park is an artist living and working in South Korea. His practice centers on hand-carving wood, through which he creates functional objects such as tea utensils and everyday vessels. Grounded in the aesthetics of Eastern notions of emptiness, he values simplicity and restraint, embedding this sensibility into his work. His practice seeks to move beyond the idea of craft as mere utility, positioning objects as quiet mediators that refine and heighten sensory awareness in everyday living.
What was the inspiration for your Steinbeisser pieces?
The inspiration stems from the order and rhythm found in nature. Through time spent walking in forests and engaging directly with natural surroundings, absorbing impressions of flowers, the sky, and shifting landscapes as pre-formal sensations. These impressions are reinterpreted through restrained forms and a sculptural language, finding their way into objects in a subtle and metaphorical manner. Through the traces that emerge in the act of use, I hope that the quiet rhythm and presence of nature can be gently experienced.
Describe your work in 3 words!
Restraint. Balance. Tactility.
What kind of materials do you use and where do you get them from?
I primarily work with dense, straight-grained North American hardwoods such as cherry, walnut, and maple. The density and grain direction of the wood serve as fundamental criteria in shaping each form. The process involves not only realizing an intended shape, but also responding to and working with the inherent flow of the material. Materials are carefully selected from local timber markets and mills, with an emphasis on preserving the natural qualities of the wood and allowing the passage of time to remain visible.
Which conscious lifestyle choices are you making and are you considering any new ones?
I have long embraced a minimalist approach to life, valuing the freedom that comes from not possessing what is unnecessary and striving to maintain a sense of clarity and simplicity. In an environment saturated with choices and distractions, I’m more concerned with what to leave behind than what to add. This attitude extends into an awareness of simplicity and non-possession, leading to focus on the density and fullness that emerge from a pared-down way of living. Recently, I’ve been reflecting on how this way of life can be expressed more clearly within my work.
What have you rebelled against in the past and what are you rebelling against now?
In the past, I’ve questioned the tendency to equate beauty solely with decorative or object-like qualities. Rather than allowing craft to remain an object of passive appreciation, I’ve been interested in its potential to be used and integrated into everyday life. I have resisted simply following prevailing trends or superficial forms, instead reflecting on what is truly necessary within life and how such necessity can be articulated through objects. While the material properties of wood impose certain limitations, I choose to remain within those constraints rather than exceed them. Rather than relying on immediate visual impact, I maintains an approach that follows the internal meaning of the work and the flow of thought that emerges from it.