Please provide a brief self-introduction.
Yes, I'm Kwangho Lee, and I am engaged in various creative activities.
I'd like to talk about knots. It is also the most primitive means, and the artist himself seems to be projected by the action as is. I'm curious about how this work began and where you drew the most influence from.
When I was young, my grandparents were farmers. Being around them, I naturally saw them making tools as farmers and then using those tools. Witnessing these processes from a young age made me naturally interested in creating something. I think I was drawn to the idea of crafting things. Moreover, being exposed to the value of handmade items, I believe those values have deeply influenced my work. Looking at my recent works and even the older ones, I feel that my childhood memories and environment have had a significant impact on my inner self.
Continuously maintaining one technique as an artist might not be easy. I'm curious about how you evolve your artwork.
Since my work itself involves repetitive tasks, I believe that continuously moving forward through these repetitions naturally sparks new thoughts and inspirations for the next creation. Therefore, in a way, the repetitive activities themselves serve as a constant driving force for me, aiding in the progression of my artwork.
I'm interested in hearing about other works apart from knotting. I'd also like to hear about new works in progress.
Along with knotting, the materials that are dealt with the most are red copper and cloisonne work. Most of the pieces in my studio right now are not knot-related but are instead focused on red copper and cloisonne work. I've been working more on these pieces in preparation for a solo exhibition scheduled for March next year. I'm envisioning works that might appear dif- ferent in form and shape from my previous pieces, and these works will be the highlight of my solo exhibition next year.
pesade is inspired by the beauty found in everyday life and steers it in the scent. I'm curious about the sources of beauty or inspiration you find in your daily life.
I believe I, too, am naturally influenced by familiar environments and daily life. Rather than forcibly seeking out beauty, I see ample aesthetic and beautiful elements in existing things. I find many aesthetic elements in spaces where I spend the most time, among friends, family, and even the paths I walk. Therefore, my approach to material and techniques is focusing on how to draw and express beauty from the existing elements rather than discovering something entirely new.
How is life in Jeju Island with your family? Why did you choose Jeju, and do you have new plans as an artist there?
Our decision to move to Jeju Island was quite vague. Even before the decision, we often visited Jeju and spent months during summer and winter. We fell more in love with Jeju during those times. Observing experiences our kids had here, experiencing the natural environment that we didn't have in Seoul, albeit vaguely, it gave us confidence in our decision to move. It's been around two years now, and we're quite satisfied with the decision. Our kids adapted faster than we expected and are doing well. These experiences have led me to the desire to work while staying in Jeju. Currently, I'm preparing a small studio, and I anticipate showcasing many works created in Jeju starting next year. Living in Jeju and then returning to Seoul repeatedly made me realize the unique aspects of both places. I now feel that Seoul has its charms, while Jeju holds a special signifi- cance. Hence, what I didn't recognize before, like the allure of Seoul and the beauty found in conversations with friends, now significantly influences me.
Known as a classic car collector, I'm curious about your reasons for collecting.
For me, it's not about speed; it's the aesthetics of classic car shapes that intrigued me. This led me to a situation where I couldn't be satisfied with just one model; I found many shapes appealing, resulting in a collection that deviated from my origi- nal plans. (Laughs) Of course, there are regrets too. Despite collecting these cars, I sometimes see them parked, unused, and it makes me wonder if my love for cars wasn't for that purpose, because cars are meant to be driven. These aspects have become a bit of a dilemma for me lately.
I'm curious about the ultimate story you aim to convey through your artworks.
If I were to consider my artistic career over 20 or 30 years, I feel I still need more experiences. Rather than conveying a message externally, I'm in a phase where I want to discover more about my internal narratives and delve deeper into myself. I anticipate that when various experiences and processes are honed, that's when I might confidently communicate profound messages. Hence, I'm actually more curious. What will my creations look like in my 70s or 80s? They might not be as I imagine. They could be like perfume scents like pesade or simply one particular color. It feels like a vague future to me. Engaging in the process of approaching those future scenarios is what I find more interesting and enjoyable.
