This South Korean designer creates furniture that look like sketches

“Is this a real piece of furniture?” That’s likely the first thought that will cross your mind when you encounter Jinil Park’s Drawing Series. For this South Korean designer, the fascination with metal isn’t just in its form, but in its potential to communicate. What began as a serendipitous choice during college years has evolved into a distinctive practice where two-dimensional sketches take form of functional 3D pieces in the most unexpected ways. You’ve likely come across spaces that feel like they’ve been pulled straight from a sketch—whether it’s the café in Seoul or the design-forward staycation back in our country, in Jaipur—that play with the idea of a doodle coming to life. Park’s work offers a similar interpretation of this idea, but with a more focused approach, bringing individual objects or a cluster of objects to life within a space, all crafted from metal. In this exclusive conversation, Jinil takes us through his widely discussed series, sharing insights into his early influences, his evolving interest in integrating AI into his creative process, and much more.

What initially sparked your interest in art and design, and specifically in metal as a medium? Was there a defining moment or experience that led you to pursue this path?

Since childhood, I have been interested in drawing and creating things with my own hands. When I entered university in 2007, design was gaining significant attention in Korea, and I naturally aspired to become an automotive or product designer. However, Korea has a unique college entrance system called the Suneung (CSAT), and during the process of selecting a major based on my exam scores, I ended up enrolling in the Metal Art & Design department (formerly Metal Craft). This led me to study design and art using metal as a medium. The more I learned about the physical properties of metal through my education, the more I realized what a fascinating material it was. As a result, I became deeply drawn to working with metal and ultimately decided to pursue artistic creation using this medium.

Your project revolves around the concept of ‘drawing’ and turning 2D lines into 3D furniture. Can you tell us more about how this concept came to life and why you chose to focus on this transformation?

During my design studies, most of the classes focused on teaching clean and stylish sketching techniques. However, when translating these sketches into actual objects, I noticed that transformations occurred—deviations from the original drawing—and compromises were often made to facilitate the manufacturing process. This aspect of the process felt uninspiring to me. One day, while sitting in a café with a friend, I found inspiration in the doodles we casually sketched, as if we had never received formal art education. This led me to explore the idea of bringing these spontaneous, sketch-like drawings to life, which ultimately became the foundation of my work.

How do you approach the process of creating furniture pieces? Do you start with sketches, or is there a more intuitive, hands-on approach as you work with metal and wire?

I start with sketches. Whenever I have time, I continuously draw various objects, often revisiting the same with a fresh perspective each time. From these sketches, I select the piece I am most eager to create and begin the making process.

Since my work does not follow precise blueprints or predetermined measurements, I adjust the lengths of lines spontaneously, add extra structural support where needed, and refine the piece while preserving the essence of the original drawing as much as possible.

You’ve said that the distortion of lines in your work reflects the emotions and status of the designer. How do you decide where to introduce these distortions, and what do they communicate in each of your pieces?

When you see my work in person, you can clearly sense how the emotions I experienced during the creation process are reflected in the lines of each piece. In the early stages, I often felt confused and overwhelmed, which led me to use rough and chaotic lines. However, as my artistic practice became more stable, I unconsciously began incorporating softer and more fluid lines into works that I started on days when I was feeling good. Recently, I have been focusing on an almost compulsive process of filling certain areas within my pieces. Rather than trying to convey a specific message, the nature of my work as a series allows it to document the gradual evolution of my drawing style. The longer I continue creating, the more these changes become preserved as tangible records within my artwork.

The process of turning a 2D drawing into a solid 3D object must involve a lot of precision and patience. Could you walk us through the steps you take, particularly when working with the thin wires and ensuring the pieces remain structurally sound?

At first, there were many trial and error moments. I wanted to express the feeling of slightly wobbly drawing lines through hammering metal wire, but when I used too rigid carbon steel wire, hammering became difficult. Additionally, using lines that were either too thin or too thick posed challenges in maintaining the drawing’s essence.

After experimenting with various types of steel wire, I discovered that when I used a wire with a moderate softness and hammered it evenly, the lines would have a strong elasticity and strength. Now, I create my works by hammering and welding wires of different thicknesses.

As for the structural stability, I continuously test my creations by sitting on them. For chairs, I make sure they are designed to support at least 90-100 kg without any issues.

What drew you to using metal and wire specifically for this project?

The drawing series is actually a project I started much earlier than expected. It began in 2012 when I was preparing for my university graduation exhibition, and it was later showcased at events such as the Gwangju Design Biennale in 2013 and the D3 Contest in Germany in 2014.

Therefore, it has been a material I’ve worked with for a long time, and I believe it is the most suitable medium for both bearing weight and expressing the lines of a doodle-like drawing.

Your project involves a lot of manual work, such as hammering and welding the wires together. What were some of the challenges you faced during this phase of creation, and how did you overcome them to bring your vision to life?

In my 20s, I used to hammer each line by hand and weld them together to create my pieces. However, as I entered my 30s, hand-hammering became physically demanding. So, after discussing with a friend who specialised in mechanical engineering and researching hammering machines, we developed a machine that could apply the right amount of pressure for hammering. Now, I use this machine to handle the most challenging part of my drawing series.

You’ve had a diverse career, from being an independent artist to becoming an educator at Hongik University. How did you first get into teaching, and how has it influenced your personal design philosophy and approach?

From 2013 to 2016, I moved between several studios while continuing my artistic practice. However, at some point, I realised that I needed to address practical challenges and deepen my understanding of my work. In 2016, I started graduate school, where I focused on material research and further developed my art. Upon graduating, I was offered an adjunct professor position, and now I’m balancing both roles. Teaching students is a responsibility which has naturally led me to incorporate a more considerate approach to the user in my work. This influence has also extended to how I process and handle materials during the creation process.

How do you balance your creative practice with your responsibilities as a professor? Does one inform or inspire the other in any way?

I’m still in the process of balancing both aspects of my life. During vacation periods, I focus on my artistic practice, and during the academic term, I try to concentrate on my students. Since I teach at the university where I graduated, I often offer advice to help students avoid the mistakes I made when I was in their shoes. Seeing their enthusiasm and fresh perspectives gives me the energy to keep challenging myself with new projects.

Looking ahead, what direction do you see your work taking? Are there any new ideas, mediums, or projects you’re excited to explore in the future, and how might your experiences as both a creator and educator influence these explorations?

AI technology and new production techniques are advancing at an astonishing pace, and I am also planning to create larger-scale and more complex forms for my drawing series. As both a creator and educator, I am constantly studying the equipment necessary to improve the quality of my work. In the future, I am considering experimenting with robotic arms in my creative process. 

Also Read: Meet Rithika Merchant, the artist behind Dior’s Spring 2025 couture show set