’Leather’, living material by artist Kim, Jun-su.
Artist Kim Jun-su, who promotes modern art craftsmanship using leather and metal as main materials. The attitude of his version of modern craftsmanship and the properties of hide were asked.
Majoring in metal art, you have been showcasing works of art in a shape of leather strings laying on top of another. How did you come to use the two completely opposite materials?
At first, I was intrigued by the warm and soft texture of leather, polar opposite properties, as opposed to hard, solid metal, which led me into developing a hobby in leather crafting. Out of many diverse fields of metal art, art accessory is one of the areas where many experimental materials can be used. Through this route, I was able to delve into other materials, which then led me into embarking on in-depth research on leather.
Ever since, through a leather workshop program in Italy, I learned all about the processes as how vegetable leather is produced, materialized, and also how to manage remaining materials. As the last course of the program, as I exhibited my works using materials from the remaining leather, I learned to see it not as fabric but a material that is living.
The final outcome made out of thin leather strings piled up, it feels as though they look like a tree ring or tree bark. It feels as though your art pursues assimilation to nature.
I began research on leather rather than expressing a certain fixated image, but learning about its properties. My approach was to study leather’s own property which is relatively unknown to others. It is safe to say that it is the outcome of my pursuit while tracing the innate nature of leather. Feedback from the viewers of my works, and plant raising, one of my hobbies, also contribute to the development of my work. It seems that such traits come to be part of my work without realizing it.
<시간, Time fo/r/est>, your most recent private exhibition, seems that you wish to talk about easy-going attitude toward relaxation and life. What does time mean to you?
I wanted to encapsulate diverse time at my exhibit, <시간, Time fo/r/est>. As for the main theme, I got my inspiration in Saryuni forest road in Jeju. As time passes, a small tree grows into a group of trees, turning into a dense forest, the stories about my works in which many processes and much time are involved to come to being, also I wanted to focus on the time of relaxation and recharge for myself from my non-stop, relentless journey. More fundamentally, I wanted to demonstrate diverse ways and attitudes towards time.
From Observing the way you work, a string of leather is cut thread by tread and stack it on top of another one layer at a time, finished by a lacquer-painting at the last. It is extremely time-consuming, why do you stick to this method?
It was not that I intentionally adhere to the strenuously time-consuming methods. These days, we manufacture industrial products much faster with machines. As much so, they are also easily and swiftly replaced and become forgotten. I feel that it is better for me to use my own labor and simple hand tools albeit long time, rather than relying on technology or machines. I believe the work in which much time and efforts are poured into brings so much touching emotion than industrial products offer.
The work process where the sweat and tears of an artist are melted into one is also intertwined with the spirit of craftsmanship. What is your definition of craftsmanship?
To me, craftsmanship is different from traditionalism. Craftsmanship involves techniques being passed down to many generations to maintain, but such history is non-existent with me. However, i believe that craftsmanship means to create an outcome not skipping nor simplifying any of the heaps of processes involved. Doing my utmost for each and every single steps with genuine efforts is my definition of craftsmanship.
The trace of a living organism left at the end of its life, ‘Leather’ is turned into products that can endure the time. What are the values you wish to leave behind?
I think the materials I use are not simple fabric that is used and be discarded afterwards. Though acquired from animals, depending on the way it is expressed, I work in a way that it helps one to bring up an image of plants. Or depending on how it is used such as partitions and bowl series, or being placed in certain spaces, it functions to transform the ambiance of the entire space.
Due to the nature of vegetable leather itself, it shows features as if it is still alive as it gets tanned over the time or as it changes color. I believe my works ‘come to life’ from the moment they are put in the place. I think my works co-exist with other objects in the space. I hope to continue my work in which the value of leather can truly shine.