The Queue: So Young Park
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So Young Park in her studio. Photo by Robert Manley.
So Young Park’s jewelry evokes nature’s wildest designs.
So Young Park’s kinetic jewelry is exuberant, lively, and bright. Discs of hammered silver wire adorn her necklaces, earrings, cuffs, and brooches. Individually soldered to the jewelry in a laborious process, these small components sway and shift, making subtle noises as the wearer moves. Slashes of powder coating and vibrant gemstones color her work. Inspired by her childhood spent near the ocean in Ulsan, South Korea, Park creates jewelry that mirrors the dynamic natural world. “All the tiny elements in my jewelry can be seen as individual cells and represent the sprouting of a new life. My work expresses life, coexistence, overgrowing death,” says Park, who has exhibited at several ACC shows. Claire Voon wrote about her work and process in “Fantastical Microcosms” in the Summer 2023 issue of American Craft.
Fake or Not, 2022, oxidized silver, powder coating, 24k yellow gold leaf, 2.5 x 2 x 0.5 in. (largest). Photo by So Young Park.
How do you describe your work or practice in 50 words or less?
I combine many tiny elements together to create one big voice. I hope the big voice can touch people’s minds. One cell seems like nothing, but millions or billions of cells create a life.
What is your design process when you start a new project?
I usually start a new project by looking at my drawings. I have several sketchbooks, which are full of drawings of my ideas. Whenever an idea pops up, I draw the idea on any paper (I prefer drawing my ideas with pencils), even napkins. Then I transfer the drawing to my sketchbook and write down what color, materials, and textures should be in each part. My sketchbooks are the most important devices in my studio.
What are your favorite tools in your tool kit, and how do you use them?
My favorite tools are soldering torches and chasing tools. Soldering makes me feel calm. When I watch solder melt and flow, it brings me a sense of joy. While chasing metal and looking at textures spreading out on the surface, I become peaceful and relaxed.
Wonderland, 2023, oxidized silver, 18k yellow gold, 2.5 x 2 x 2.2 in. Photo by So Young Park.
Tropical Fruits, 2023, oxidized silver, blue topaz, amethyst, lapis lazuli, sapphire, carnelian, garnet, yellow topaz, powder coating, 8 x 9 x 1 in. Photo by So Young Park.
Do you listen to music, podcasts, radio, or audiobooks while you do this intricate, detailed work? If so, what has stuck with you lately?
When I design my projects, I mostly listen to classical or jazz music. Any kind of talking in media interrupts my creative focus. When I fabricate detailed work, which requires repeating actions like soldering hundreds of pieces, cutting discs or wires, or chasing, I listen to all kinds of music, radio, or news. Recently, I’ve been listening to talk shows related to psychology and news about global warming issues or Korean political issues.
Which craft artists, exhibitions, or projects do you think the world should know about?
We all are connected somehow or somewhere in our lives. As many know, music is an inspiration to artists, and I found these amazing cellists around a decade ago. Listening to 2CELLOS’ music brings up all my energy to focus on my work. When I listen to 2CELLOS, it often reminds me of Bruce Chapin’s work. He used to be a painter and is now a wood sculptor.
Maze, 2023, oxidized silver, 2.5 x 2 x 2.2 in. Photo by So Young Park.
Circle Petals, 2023, oxidized silver, blue topaz, lapis lazuli, sapphire, carnelian, garnet, powder coating, 8.5 x 8.5 x 1 in. Photo by So Young Park.
If you could have work from any contemporary jeweler or metalsmith for your home or studio, whose would it be and why?
I want to decorate my living room wall full of Mariko Kusumoto jewelry. Her jewelry is so soft and has a dreamy feeling, but it’s also colorful, especially the pieces that are overlapped—they look more fantastic. I would also like to decorate my living space with David Huang’s vessels. Decades ago, I used to hammer a lot to make sculptures. Looking at hammering work always makes me feel nostalgic about my younger years.
What are you working on right now?
These days I’m working on larger-sized objects with wires, using weaving techniques. Also, I’ve been studying some traditional craft techniques, including Japanese lacquer and mother-of-pearl. I’ve been trying to use these techniques on nontraditional materials and testing how to develop them into my own style. Hopefully, I’ll find a new expression outlet for my next chapter of work.
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