WONMIN PARK - HYPER NATURE

A resin table can hold its place in a room while appearing to dissolve into it. A sheet of metal can draw a sharp line through space. A stone, cut open, can reveal a surface entirely different from its weathered exterior. Across Wonmin Park’s work, these encounters become ways of reconsidering familiar objects—and the materials we think we understand.

Born in Seoul and educated at Design Academy Eindhoven, Park established an independent practice that moves between furniture and sculpture. His work invites close attention to colour, structure and the experience of being around an object. A table’s capacity to carry light can become as compelling as its capacity to carry anything else.

Giving atmosphere a structure. In *Haze*, Park uses coloured resin to give geometric furniture an elusive presence. Translucent planes overlap, edges soften, and colour shifts in density where elements meet. The forms are legible as tables, benches and stools, yet their visual boundaries feel less certain. The series began with his fascination for particular qualities of light and the gradual fading of things from view. Resin offered a means of translating those observations into an object, with transparency, opacity and colour becoming variables he could carefully adjust. There is a productive tension in these works. Their geometry gives them order, while their translucency unsettles our sense of their weight. Looking through a leg or across a tabletop becomes part of understanding the piece. Its surroundings enter the composition, changing how its colours and proportions are perceived.

A different kind of clarity

With *Plain Cuts*, Park turned to aluminium, pursuing a material whose strength allowed him to explore a different structural language. Cut sheets are assembled into tables, shelves and other functional forms, with thin planes defining volumes and openings. The transition also challenged the association between his identity and resin. Park wanted to discover what he could make with an ordinary industrial material, extending his practice beyond the substance that had first brought it recognition. Aluminium introduced its own possibilities: lightness, strength, and variations in surface colour achieved through patination. The apparent economy of the finished pieces conceals considerable technical work, including the challenge of creating clean junctions and supporting compositions that seem almost to float.

Seen alongside *Haze*, these works suggest a continuing investigation into how little an object needs to establish a presence. A translucent block