Greem Jeong: Global Vision, Local Roots

Photo courtesy of the artist

For this edition we spoke with Greem Jeong, a visionary artist and designer whose creative journey spans continents and cultures. Born and raised in the vibrant city of Seoul, Greem’s path took her to France for art education, where she grappled with a pivotal choice: stay in Europe’s expansive art scene or return to the dynamic, emerging market of Korea. Her decision to come back to Seoul has sparked a fascinating fusion of global perspectives and local influences in her work.

Greem’s unique approach to design challenges traditional notions and embraces an open, process-driven methodology learned during her time in France. Her innovative Mono series, use of bold colors, and interactive designs reveal a deep engagement with both form and function. Through her work, Greem creates spaces and objects that provoke thought and interaction, blending aesthetic pleasure with practical purpose.

In our conversation, Greem delves into how her Parisian education has shaped her creative ethos, the role of Seoul’s dynamic energy in her work, and her exploration of new artistic frontiers. From overcoming challenges in her recent collaborations to expanding his practice with new technologies and traditional Korean techniques, Greem’s journey is a testament to the evolving nature of art and design.

We The Cool: Can you tell us about your journey becoming an artist and designer in Seoul? 

Greem: I was born and raised in Seoul, and I received my art education in France. After graduating, I faced the dilemma of whether to stay in Europe or return to Korea. The main issue was which location would be more efficient for my work. Europe has the world’s largest design and art market, and offers the advantage of experiencing art at a high level. On the other hand, Korea was an emerging market, and there was the advantage of being able to collaborate with experts to produce works more quickly and affordably. Additionally, I couldn’t overlook the fact that Korea is a familiar and comfortable country where my family and long-time friends live. Having a stable base is psychologically important. In the end, I decided to settle in Korea, but I aim to work globally, considering both the Korean and European markets.

WTC: How did your education in France influence your approach to design and art?

G: The art education I received in France had a significant impact on my working methods. Korea places considerable importance on strict standards and rules. As a result, one becomes conscious of others’ opinions, striving for perfection and trying to find the “correct” answer. What surprised me during my classes in France was that they didn’t start by precisely defining something. The process was more important. Initially, this approach felt challenging, but the lack of fixed frameworks or rules meant that the way of thinking and direction during the development of ideas were very open. This open thinking helps to approach creation in a more diverse way, both conceptually and methodologically. This training has greatly influenced my work, and I naturally continue to apply this method.

WTC: What is your creative process like when developing a new interactive object or space?

G: In my work, particularly in the Mono series, I intentionally go through a process of removing and omitting external elements that reveal the identity of objects. For example, when we think of “something you can sit on,” people immediately imagine a typical chair with a backrest, seat, and four legs. By omitting and transforming these elements, forms that deviate from preconceived notions emerge. Viewers often find themselves asking, “Is this an object or a sculpture?” “Does it have a specific function or not?” Such curiosity leads to communication, and communication is a form of interaction. I aim to create new experiences through this interaction between objects and humans.

Photo courtesy of the artist

WTC: How do you balance functionality and aesthetic appeal in your work?

G: Most objects are created to meet the needs of users. For example, a chair is made to sit on, and a table is made to place things on. Beyond these functional purposes, I focus on providing aesthetic pleasure or emotional impact through objects. In other words, I strive to make objects that are not just functional, but that also offer sensory satisfaction and an artistic experience to the viewer. If they also carry a narrative, that would be even better, as it can convey a deeper emotional resonance and provide a richer aesthetic experience.

WTC: Your work often features vibrant and distinctive use of color. Can you share how you choose your color palette and what role color plays in enhancing the interactive experience of your objects and spaces?

G: The way I select colors varies depending on the situation. For works that will be part of an exhibition, I might choose colors that match the theme and atmosphere of the exhibition. When collaborating with a brand, I might use the brand’s key colors to maximize its identity. Sometimes I choose colors that suit the shape or material of the work, and at other times I start by imagining a specific color and then plan the work around it. I particularly enjoy imagining the space where the work will be placed and selecting colors that will harmonize with that space. This way, I believe the work doesn’t just occupy space but interacts organically with it, adding new dynamism to the environment. Achieving harmony between the independent object and its environment is essential.

Photo courtesy of the artist

WTC: What inspires your work, and are there particular themes or concepts you focus on?

G: Recently, I’ve been focusing on natural objects. From the beginning of my practice, I’ve always tried to find natural and organic forms when shaping my works, as if they were flowing. There was a point when I questioned why I was so fixated on these organic curves. I came to think that perhaps it’s because the animalistic instincts that humans feel are naturally drawn to follow nature. Nature is an integral part of the environment in which we are born and raised, and it is directly linked to life itself. The forms and structures in nature achieve perfect harmony, embodying vitality and organic movement. I feel that these aspects are deeply connected to our primal senses as humans. I believe that the forms and movements in nature appeal not only to visual beauty but also to our basic instincts and emotions.

WTC: Are there any artists or designers who have particularly influenced your practice?

G: The Italian artist Ettore Spalletti. I love the meditative atmosphere of his paintings and installations. The fact that the exhibition space and light can become part of the work is incredibly fascinating.

WTC: What has been the most challenging project you’ve worked on, and how did you overcome those challenges?

G: Last year, during the 2023 Milan Design Week, I participated in a collaborative exhibition with Kirkbydesign, a subsidiary of the renowned British fabric manufacturer Romo Group. At the time, Kirkbydesign had successfully developed sustainable fabrics and wallpapers made by recycling discarded fabric and paper from the production process, and they were about to launch these new products. They wanted to host an exhibition in collaboration with an artist during Design Week, and they contacted me. At the time, I was experimenting with works using 3D printing technology, and I was also interested in the large amounts of plastic made from cornstarch that were discarded during the printing process. Through this, I discovered a company that had technology for shredding and reprinting these materials, and we decided to create a large-scale installation inspired by Kirkbydesign’s new product patterns using pellet printing technology, which boasts a near 100% recycling rate.

However, the production process was extremely arduous and difficult. There were numerous failures and trials. Using such a high proportion of recycled plastic for printing was almost unique globally. Utilizing recycled plastic close to 100% meant that the durability, adhesion, and precision were inevitably inferior to using virgin plastic materials. We aimed to create works large enough to fill various spaces within the exhibition, so producing sculptures that balanced formability, stability, and efficiency with this new material was a significant challenge for both me and the brand involved. There were many nights spent by the printer alongside the factory manager, to whom I am truly grateful. The technical limitations amplified psychological anxiety, and simultaneously discussing and persuading the head office in the UK made the process even more challenging. Looking back, it was a very tough but meaningful project.

Green Jeong: photo courtesy of the artist

WTC: Are there any new directions or projects you are excited about in the near future?

G: I think the keyword ‘expansion’ can be highlighted. The first is technological expansion. Previously, I only worked by directly processing metals, but recently I have also incorporated futuristic technologies such as 3D printing and scanning. Another interesting point is that for the past few years, I have been learning the traditional Korean craft technique of Najeonchilgi. Najeonchilgi involves coating an object with natural lacquer and decorating it with thinly sliced mother-of-pearl (shell). I want to learn this technique using very traditional methods and then apply it to my work in a modern way. By crossing the boundaries between tradition and modernity, craft and art, function and aesthetics, I seek to explore new sculptural possibilities.

Another aspect is spatial expansion. I am expanding my work from the studio to the white cube exhibition space and further to outdoor settings. I am also interested in expanding into traditional spaces that showcase the identity of different countries, such as Korea’s Hanok or Italy’s Palazzo. Exploring how the work can interact with the space in such diverse environments will be a key direction for my next projects.

WTC: How does Seoul influence your work, and are there specific aspects of Korean culture that you incorporate into your designs?

G: Seoul is a city that is rapidly changing and developing. New trends are quickly adopted, and the city’s infrastructure and services are constantly being innovated. Sometimes, these aspects can place people in Seoul in an overly competitive society, making them tired and lethargic. However, this also means that Seoul is always dynamic and full of youthful energy. I am constantly stimulated by this city and keep trying new things here.

WTC: What role does cultural heritage play in shaping your artistic perspective on beauty?

Seoul is a city with a unique charm where the past and the present coexist. It boasts a history of over 600 years, with numerous relics and cultural properties from the Joseon Dynasty scattered throughout the city. It’s a city where tradition and modernity harmoniously develop. When trying to evolve my work, I often contemplate current and popular elements. In doing so, I sometimes discover newness in the old things around me. When I incorporate the aesthetic elements I want to emphasize into modern or personal contexts, their beauty is further amplified. I believe that traditional elements, rather than being stuck in the perception of being outdated, can be utilized to create new values.

WTC: Tell us about your life in Seoul, what are your favorite restaurants, bars, coffee shops…

Restaurants: Horapa, PKM garden, Jangsoo Samgaetang

Cafe: EN gallery

Bars: Omusa, Sookhee