Shinkyu Shon

์†์‹ ๊ทœ

 

ํ•œ๊ตญ์ ์ธ ๋””์ž์ธ์˜ ๋‹ต์„ ์ฐพ๋Š” ์†์‹ ๊ทœ๋Š” ์ด๋Ÿฌํ•œ ์ƒ๊ฐ์„ ์กฐํ˜•์ ์œผ๋กœ ํ’€์–ด๋‚ด๋Š” ์–ธ์–ด๋กœ์„œ, ๋ถ„๋ฆฌ๋œ ์ƒํƒœ๋กœ๋Š” ๊ตฌ์กฐ๋ฅผ ์œ ์ง€ํ•  ์ˆ˜ ์—†๋Š” ํ•œ์˜ฅ์˜ ๊ณ ์žฌ์™€ ๋ฏธ๋Ÿฌ ์Šคํ…Œ์ธ๋ฆฌ์Šค ์Šคํ‹ธ์˜ ์ถฉ๋Œ๊ณผ ๋ถ„์ ˆ์„ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค. ์ „ํ˜€ ๋‹ค๋ฅธ ๋ฌผ์„ฑ์„ ์ง€๋‹Œ ๋‘ ์žฌ๋ฃŒ๊ฐ€ ๋ถˆ๊ฐ€๋ถ„์˜ ๊ด€๊ณ„๋กœ ํ•˜๋‚˜์˜ ํ˜•ํƒœ๋ฅผ ์ด๋ฃฌ ๋ชจ์Šต์—์„œ ๋น„๋กœ์„œ ์ „ํ†ต๊ณผ ํ˜„๋Œ€, ๋ฌผ์งˆ๊ณผ ์ •์‹ ์€ ๋ฌต์งํ•˜๊ณ  ๊ณ ์š”ํ•œ ์œตํ™”๋ฅผ ์ด๋ฃน๋‹ˆ๋‹ค.


Searching for the true definition of a “Korean” Design, Shinkyu Shon builds up a sculptural language through the collision and the fragmentation between the mirror stainless steel and Hanok’s wooden structure, which is unable to hold its form when disjointed. The inseparable relationship between the two objects, disparate in materiality, is juxtaposed into a singular form, thereby the traditional / contemporary and materiality / spirit coming together in solemn harmony.

Shinkyu Shon

์†์‹ ๊ทœ

ํ•œ๊ตญ์ ์ธ ๋””์ž์ธ์˜ ๋‹ต์„ ์ฐพ๋Š” ์†์‹ ๊ทœ๋Š” ์ด๋Ÿฌํ•œ ์ƒ๊ฐ์„ ์กฐํ˜•์ ์œผ๋กœ ํ’€์–ด๋‚ด๋Š” ์–ธ์–ด๋กœ์„œ, ๋ถ„๋ฆฌ๋œ ์ƒํƒœ๋กœ๋Š” ๊ตฌ์กฐ๋ฅผ ์œ ์ง€ํ•  ์ˆ˜ ์—†๋Š” ํ•œ์˜ฅ์˜ ๊ณ ์žฌ์™€ ๋ฏธ๋Ÿฌ ์Šคํ…Œ์ธ๋ฆฌ์Šค ์Šคํ‹ธ์˜ ์ถฉ๋Œ๊ณผ ๋ถ„์ ˆ์„ ์ด์šฉํ•ฉ๋‹ˆ๋‹ค. ์ „ํ˜€ ๋‹ค๋ฅธ ๋ฌผ์„ฑ์„ ์ง€๋‹Œ ๋‘ ์žฌ๋ฃŒ๊ฐ€ ๋ถˆ๊ฐ€๋ถ„์˜ ๊ด€๊ณ„๋กœ ํ•˜๋‚˜์˜ ํ˜•ํƒœ๋ฅผ ์ด๋ฃฌ ๋ชจ์Šต์—์„œ ๋น„๋กœ์„œ ์ „ํ†ต๊ณผ ํ˜„๋Œ€, ๋ฌผ์งˆ๊ณผ ์ •์‹ ์€ ๋ฌต์งํ•˜๊ณ  ๊ณ ์š”ํ•œ ์œตํ™”๋ฅผ ์ด๋ฃน๋‹ˆ๋‹ค.


Searching for the true definition of a “Korean” Design, Shinkyu Shon builds up a sculptural language through the collision and the fragmentation between the mirror stainless steel and Hanok’s wooden structure, which is unable to hold its form when disjointed. The inseparable relationship between the two objects, disparate in materiality, is juxtaposed into a singular form, thereby the traditional / contemporary and materiality / spirit coming together in solemn harmony.