KOREA FOUNDATION

1. Please briefly introduce yourself.

I work with najeon chilgi, that is, I create lacquerware inlaid with mother-of-pearl. Previously, I was an extremely successful stock market expert at Dongsuh Securities and for three years, I discussed market forecasts and investment strategies on a radio program every Monday. However, I left the world of stocks after realizing that my future was uncertain as long as I remained there, and because I watched many of my colleagues fall ill under severe stress. Looking back on the time when I chose najeon chilgi as my second career, I think I was driven by the stock market adage: “Do the opposite of what others do.”

2. How was the najeon chilgi business when you chose to enter it?

Najeon chilgi refers to both lacquerware inlaid with diverse shapes made from the shells of abalone, conch, and the like, as well as the decorative design skills themselves. As a business, najeon chilgi was on the wane then, with many people closing down their shops. Still, I stepped into the mother-of-pearl world believing that it, being a traditional craft heritage, would not die out. Once I became a part of that world, however, I found it more disappointing than expected. There was much to be done in order to invigorate the tradition with fresh designs, so I resolved to pursue design studies at the ArtCenter College of Design’s Los Angeles campus (Art Center DTLA). However, after returning to Korea, I opened a najeon chilgi store only to face near bankruptcy. I made the decision to become a najeon chilgi artist instead. I learned lacquering and refining skills at the Domus Academy in Italy and from a Japanese master, and later, I received a patent for lacquer refining for these efforts.

3. What is the special appeal of najeon chilgi?

Najeon chilgi has an inherently subtle, iridescent shine that cannot be reproduced with paint. It is mystifying as its appearance changes depending on the direction it’s viewed from. When the shells of abalones, conch, and pearl oysters are processed, they emit delicate hues; after several rounds of lacquering and sanding, they radiate the characteristically bright mother-of-pearl colors. The finished works shine iridescently and seem to change colors in the morning, afternoon, evening, and at night. I feel immense pleasure when creating my works as they bring happiness to those viewing them, helping them to dream of a life that shines as brightly as the works.

4. Many know you for your modern interpretations of najeon chilgi. How do your works differ from traditional pieces?

My works tend to be more colorful as I departed from the conventional black lacquer to adopt color lacquering. Another difference is that my pieces show multifarious designs that feature both figurative and non-figurative motifs. Najeon chilgi is a traditional Korean craft, boasting a history that extends over a millennium. In the past, many people in Korea used wardrobes and chests inlaid with mother-of-pearl, but as generations changed and modern apartment living increased, countless precious and expensive pieces of lacquered furniture were discarded. Perhaps they did not fare well with the changing times. A sort of harmony seemed to exist between lacquerware furniture and traditional houses with their tiled roofs, but in brightly lit apartments, the dark traditional lacquerware with dated designs felt out of place. I studied color and boldly applied abstract designs, intending to create new versions of najeon chilgi that felt more in tune with the times. I researched how to bring najeon chilgi out of the furniture world and into the art world and developed works that could be hung on the wall. I constantly seek improvement.

5. You have crafted an Xbox console inlaid with mother-of-pearl, an iPhone case, and even a chair for Pope Francis. Such famous people as Hilary Clinton and Warren Buffet also own your works. Out of all the pieces you have created which do you consider most memorable?

I think that having pieces commissioned and purchased by Bill Gates lead to the widespread recognition of both myself and my work. He introduced me to Steve Jobs, too. They happened to own my works out of the desire to give valuable presents. The same was true of the papal chair. My work was chosen not because it was of extraordinary quality but because it happened to correspond to the Pope’s character. I felt honored by all those commissions, but should you insist that I pick the most memorable one, I would say it is the moon jar with a chrysanthemum design, which I painstakingly created, deeply engrossed in the entire process.

6. Your works are on permanent display at the Korean Cultural Centre UK in London. Would you tell us about them?

The works are on exhibit to introduce Korean mother-of-pearl lacquerware to the people of the United Kingdom. These modernized najeon chilgi artworks embody Korean tradition while appearing in a contemporary context. Some works are modern interpretations, such as Cosmos, Bench, and Picture Frame, while others are faithful representations of the time-honored tradition. When selecting works for the permanent display, I considered the unity of tradition and modernity, and of East and West.

7. Please tell us about your future plans and hopes.

As an artist who is recognized as having modernized traditional Korean najeon chilgi, I strive for its recognition as an art form by highlighting its updated features and attempting a wide variety of collaborations. I am also training people aspiring to master the craft; there are many excellent students. Though I consistently work at breaking my own fixed perceptions, I believe that these students will go on to develop and transform the practice further through increasingly new and improved works. I hope they will take the lead in spreading the traditional Korean craft worldwide and deeply impress people all over the world.