Bahk Jong Sun focuses the most on his design is minimalism and moderation; it is hardly recognized excessive elements or artistic imagination as sculptural object in his works.
What he tries to suggest is absolute horizontality and verticality as well as precisely elaborate efficiency. Based on the aesthetics of the simplicity and the beauty of the traditional Korean house, Hanok, and the gentleman's furniture in the 17~18th centuries, he combines with his experimentalism with practicality of Scandinavian designs and Shaker style. Bahk follows the philosophy “emptying,” valued by Joseon Dynasty scholars, who pursued a practical aesthetic based on Confucian principles. Going beyond modesty to appeal through sheer simplicity, Bahk’s creations take their motif from Joseon furniture. They inherit the distinctive philosophy of the Seonbi, or virtuous scholar, and thus prioritize functionality over adornment.
With subtle harmony of lines and curves, the pieces convey a natural beauty achieved, in the respect of the nobility and dignity of the Joseon Gentleman culture and philosophy. The beauty of scholarly restraint figured forth by Joseon-era furniture surpasses the designs of Northern European furniture in stylistic poise and minimalism.
There is unique tension generating from the curvy structure created when horizontality meets verticality in his works. His designs communicate with users through strength and fineness, wit and humor, sound and light. In this sense, his works created based on human factors, not ergonomics, stresses thoughtful consideration and efficient communication developed for users.
Through dramatic engineering for ultimate structure, Bahk seeks to expose the fundamental idea of both Korean and Western architectural philosophy and aesthetics. By the strict principle of absolute horizontality and verticality, he brings moderation and spirit of beauty into his furniture without excessive manner. Standing by the ideas of simple but practical, he does not forcefully control or conquer the material; wood. His attitude exposes the texture and defects without calculation, showing us the hidden witty and moderate aesthetics.
Born in 1969
Lives and works in Wonju, Korea
SELECTED SOLO EXHIBITIONS
2021 Furniture in Parasite film, Busan Design Week, Busan
2010 Echo, Ishikawa International Salon, Kanazawa Time of Wood, Gallery SEOMI, Seoul
2009 Journey with Wood, Topohaus, Seoul
The Journey to Somewhere, Gallery Corner, Seoul Water, Islet & Repose, Craft Awon, Seoul
2007 The Forest of Light and Sound, Craft Awon, Seoul
2006 Make a Sound in Wooden Furniture, Haslla Artworld, Gangwon
The Sound of Landscape, Chiak Artcenter, Wonju, Gangwon 2005 Speak Seriously to the Tree, Gallery Leeham, Wonju, Gangwon
SELECTED GROUP EXHIBITIONS
2021 All About Attitude, Milan Design Week 2021 Korean Craft Palazzo Litta, Milano
2016 Korea Now!, Bayerisches National Museum, Munich 2015 A Case Study in Lighting, LA
Korea Now!, Musee Des Arts Decoratifs, Paris
2014 Korean Contemporary Design, Edward Tyler Nahem Fine Art, New York
2013 Contemporary Korean Design 2, R20th Century Design Gallery, New York
2010 Contemporary Korean Design, R20th Century Design Gallery, New York
2009 A Collision of Sentiments, Acozza Gallery, Wonju, Gangwon
2008 Empty Project "The Light", Seogok Church, Wonju, Gangwon
The Story of City at Three Persons, Samil Road Storage Theatre, Seoul
2005 Asia Pacific Weeks Berlin 2005 Focus Korea, Nomadic Plaza, Berlin
2015 Design Miami/Basel, Basel
2014 Design Miami/, Miami
Design Miami/Basel, Basel
Collective 2 : Design Fair, New York
2013 Design Miami/, Miami
Los Angeles Antiques, Art + Design Show, LA
Design Miami/Basel, Basel
2012 PAD, Pavilion of Art & Design, London Design Miami/Basel, Basel
2011 Design Miam/i, Miami Design Miami/Basel, Basel
2010 Design Miam/i, Miami Design Miami/Basel, Basel
2009 Design Miami, Miami
2011 Yumin Creative Awards, The Yumin Cultural Foundation & JoongAng Ilbo Newspaper, Korea
2011 Hana Bank Training Institute, Korea