Imagined worlds in interiors
- Weon's furniture explores the role of shape in figurative imagery
- He emphasises construction, material logic and restraint
- He often works with discarded materials
Weon Rhee is a designer and craftsperson whose practice is rooted in material sensitivity and lived experiences. "Making emerged as a deeply personal act of emotional grounding. I allow objects to act as both functional forms and quiet vessels of endurance and reflection," he says. Raised in an environment shaped by crafting, his mother being a fashion designer, Weon developed an early affinity for drawing and building by hand. He pursued his interest in art through university, graduating from the Department of Wooden Furniture Design at Hongik University, and later completing coursework in furniture design at its graduate school. Rather than inheriting skills from a single master artisan, Weon cultivated his practice through hands-on work alongside contemporary Korean artists and designers. "Not only did I learn technique, I also adopted a serious attitude toward craft as a way of life," he explains.
INTERVIEW
I begin with daydreaming about things I am drawn to. From these imagined images, I extract a narrative and study it through reading or direct experience. The story is refined using 3D tools such as Rhino and Grasshopper, then tested through material research and labour intensive making.
My early use of PSL (parallel-strand lumber) beams was framed as an environmentally conscious design. However, I was also drawn to their weight, scale and strong texture. Working with heavy, abandoned materials felt liberating, almost like physical training and offered a blank surface for imagination.
ADHD allows me to enter making quickly through hyper-focus that allows vivid narratives to unfold in my mind. I am sensitive to sensory overload, so I prefer micro-scale inspiration and imagined worlds such as dinosaurs or space, rather than overwhelming architectural experiences.
I want to translate inner psychological states into form more directly. I am exploring how polygonal shapes can express figurative imagery, and studying stone carving. I still prefer processes where I shape, cast and finish materials with my own hands.
