Kyungwon Hwang is an artist living in South Korea. He draws inspiration from everyday experiences, infusing his work with a sense of comfort and simplicity. His creations feature rounded, gentle shapes reminiscent of spoon heads, inviting a feeling of warmth. By incorporating hand-carved knife marks and layering lacquer, he skillfully reveals the natural beauty of the wood while capturing the essence of time that passes in the crafting process.
What was the inspiration for your Steinbeisser pieces?
This work began from the act of eating itself. A spoon is a simple tool, but the moment it is extended toward someone, it becomes a relationship and a scene. I was particularly interested in the movement of offering and sharing food, and the natural flow within that gesture. The theme of nature and sustainability allowed me to expand this idea further. I tried to reflect organic lines found in plants and the subtle movement of wind in the forms.
Describe your work in 3 words!
Repetition. Time. Renewal.
What kind of materials do you use and where do you get them from?
I mainly use wood and lacquer. The wood is sourced locally in Korea, and I select different species depending on the work. For this series, I used maple wood. The lacquer is traditionally refined natural lacquer, applied in multiple layers to build depth. In this work, I used both black lacquer and red lacquer. Rather than searching for rare materials, I try to work with materials that are close to everyday life.
Which conscious lifestyle choices are you making and are you considering any new ones?
In daily life, I consciously try not to move too quickly. Not only in my work, but also while walking or eating, I try to stay aware of my body and senses, noticing subtle differences within repetition. This attitude connects directly to how I handle materials, helping me maintain a natural rhythm in the process. In the past, I resisted speed and efficiency-driven thinking. Now, as an extension of that, I place more importance on the process itself, trying to remain within it without rushing, and to maintain my own pace in both work and life. Based on this approach, I also consider how my work can exist in a more sustainable way, including materials, process, and use over time.
What have you rebelled against in the past and what are you rebelling against now?
In the past, I pursued simplicity and tended to resist creating a wide variety of works or actively adopting new or efficient methods. This was because I believed it was more important to fully immerse myself in the process rather than focusing on the result. I continue to carry this attitude in my current practice. I resist following merely visual or superficial aesthetics, and instead aim to embed clear intention in my work while removing unnecessary elements.