WEAVING
Bosong Kang
Could you share a bit about yourself and your background?
I'm Bosong from South Korea. Since I was young, I've been fascinated by the world of handcrafts. Later, I decided to major in metal craft to delve deeper into the broader field of craft art at university. After graduating, I landed a job as a costume jewelry designer. However, I found that I didn't derive much enjoyment from it. I felt restricted by the need to follow trends and churn out items for sale, which really put a damper on my creativity.
But in my spare time, I found joy in knitting and crochet, occasionally indulging in the tactile pleasure of soft and fluffy materials—a stark contrast to metal. Over time, these crafts became my main focus, leading me to integrate knitting into my career. I set up a knitting studio in Seoul, where I constantly developed new knit designs and held regular lessons for eager enthusiasts. I've also collaborated with various organizations, art museums, and businesses, offering knitting instruction upon request. Additionally, I authored two knitting books in Korean, which further fueled my passion for textile arts. And that's where I am today.
What first led you to textiles, and why did you specifically turn your attention to weaving and knitting?
I was very attracted to the simplicity and therapeutic aspect of knitting compared to metalwork. Don't get me wrong, metalwork is amazing too, but it requires proper space and equipment, including fire. I often found metal to be stubborn and fragile, showing no mercy.
Knitting, on the other hand, is incredibly flexible and forgiving. You can knit almost anywhere, whether on a bus, metro, or train. The materials are colorful, soft, and easy to undo, which I absolutely love. Knitting provides a sense of freedom and has helped me delve deeper into various aspects of textiles. This journey led me to Sweden to study traditional weaving properly, and it's been two years already—time flies, doesn't it? Weaving, though, is a different story. At first, it felt strict and intimidating compared to knitting because of the need for meticulous planning. I even questioned if it was for me. But over time, I've grown to love it. Now, I feel a genuine passion for weaving. It's something I can truly enjoy.
How do you think the places, people, and textile traditions where you grew up are now manifesting in your art?
Yes, definitely. I believe that the people I've met, the places I've lived, and the experiences I've had, whether it's something I've seen or done or even a book I've read, have all contributed to shaping my present. For instance, my father began his career as a carpenter, spending nearly forty years building houses. I witnessed his craftsmanship throughout my entire life, watching him create things.
My mother, on the other hand, is a housewife who always indulges in crafting during her spare time. My sister and I would often join her, playing with clay and creating small crafts together. It may seem trivial, but those moments were significant. Our mother encouraged us to explore our creativity, whether it was through origami or making paper dolls. These childhood memories continue to inspire me and undoubtedly influence my work in various ways. I'm truly grateful for them.
Can you take us through your process? Do you have a favorite part of the creation process?
I'm not much of a planner. I tend to collect things daily, jotting down rough drawings, collages, and texts because I tend to forget easily due to my bad memory. It's become somewhat of a habit for me. I feel this urge to gather everything before it slips my mind, and surprisingly, it's turned into a major source of inspiration for me. These collections could include anything from a movie I watched, a book I read, or even just the feelings I experienced that day. Sometimes it's snippets of conversations or scenes from the day, or even just a ticket from a museum visit.
I enjoy hoarding these little memories, and when it's time to embark on a new project, I like to sift through them randomly. It's like a treasure hunt for inspiration. I'll pick out things that resonate with the theme I'm working on, and then plan and decide on the materials and forms I'll use. That's my process for starting any new project. As for materials, I prefer to work spontaneously. There's something about picking them out from my subconscious that feels more genuine and raw to me. Planning too much tends to make things feel forced and unnatural. So I trust my instincts and go with the flow, which makes the work feel more personal and authentic. I find joy in going with the flow. Whenever I try to impose strict plans and structures, it just takes away from the joy of creating for me. My priority is always to enjoy the process because I've noticed that the more I enjoy it, the better the outcome tends to be.
Tell us more about your solo exhibition at Ami Art Museum and how it came about.
It's particularly special for me because last year I was in Korea for work, specifically to teach knitting lessons, and I received an email from the curator of the Ami Art Museum, expressing their interest in showcasing my textile work. While I had previously exhibited my knitted work due to running a knitting studio for many years, this was my first opportunity to display my woven work in Korea. I was eager to seize this chance.
When I met the curator face-to-face, she was incredibly kind, warm, and generous. Initially, I was a bit nervous about presenting my weaving career, feeling it was somewhat short compared to my experience with knitting. However, she provided invaluable feedback and encouragement, assuring me that my work deserved to be showcased. Her support meant a great deal to me, and it gave me the confidence to go ahead with exhibiting my pieces. I sent the majority of my woven pieces from Sweden to Korea, where they'll be on display until the end of March. What makes the museum particularly special is its history—it used to be an elementary school that's been repurposed into an art museum. Although I've never had the chance to visit it, I'm planning to go to Korea this year and would be thrilled to see it in person. It'd be fantastic if others could also travel to Korea and experience this unique museum. I'm genuinely grateful for this opportunity.
We're aware that collaboration plays a significant role in your art practice. Could you elaborate on the importance of these collaborations to you, and how they contribute to the mutual support and growth within your community?
I have a strong affinity for textile work, but I also recognize its limitations at times. While its softness and lack of definite form are appealing, I'm drawn to combining it with the solidity of materials like metal, likely influenced by my experience with metalwork. I believe that when textile meets materials like wood or metal, something truly special can emerge. While textiles will remain my primary medium, I'm keen to integrate my metalwork background into my future projects. However, it's been a while since I've worked with metal, so I hesitate to call myself a metalworker. I'm open to collaborating with someone who shares my interest, and fortunately, our school offers opportunities for cross-disciplinary collaboration, such as with the wood department or ceramics. Recently, I collaborated with a friend from the wood department to create furniture for a fair in Stockholm. It was a rewarding experience, despite encountering some challenges along the way. I'd like to continue exploring collaborations, especially with wood, although I acknowledge that it can be both rewarding and demanding, both technically and emotionally. Nonetheless, I believe I'll learn a great deal from such collaborations.
In the broader sense, while each crafter pursues their own path, collectively, we're all part of the same community. I value having fellow crafters around who support each other. For instance, if a ceramic artist needs fabric for their project, I'd be more than happy to provide it. This collaborative spirit is how I believe I can contribute to our community.
When it comes to the tactile aspect of your work and its connection with your body, how does the hands-on nature impact your overall happiness and well-being?
Whenever I've faced challenges in the past (and even now), I've found solace in keeping my hands busy with knitting, crocheting or weaving. There's something about the feel of those soft materials in my hands that helps soothe my emotions. Most of the time, it feels like they're slowly healing the wounds inside me. This realization has been a small breakthrough for me. Textile work isn't just a way to pass the time; it's become a trusted friend to me.
Where do you think lies the biggest potential to preserve important local crafts in the contemporary context?
I believe the greatest potential for preserving important local crafts in contemporary times lies in recognizing their cultural significance. Crafts offer a window into our history and traditions, reflecting the tastes, trends, and materials of their time. Whether it's a hand-carved spoon or intricate weaving, these crafts deserve to be cherished and safeguarded. By raising awareness and appreciation for them, we can ensure their preservation for future generations.
What upcoming projects make you excited right now?
I'm currently preparing to create a wall hanging, which will be the largest project I tackle for the summer exhibition at Capellagården, where I'm currently studying. Every summer, we host an exhibition for guests, as the island where I study is primarily a destination for summer holidays. Many Swedish visitors come to the island to enjoy their summer vacations, so there's always a bustling crowd during this time. Each year, the school organizes an exhibition showcasing various craftworks, including textiles, ceramics, and wood. I'm thrilled to be working on a long wall hanging for this exhibition—it's a project that excites me greatly. Additionally, I'm planning to host knitting lessons in Seoul this summer.
I'm looking forward to reconnecting with fellow knitters in Korea. While working alone has its charm, there's something special about collaborating with others. So, needless to say, I'm very excited about the upcoming projects.
Where and how can people engage more with your work?
I'm currently in the process of creating my own webpage where people can stay updated on my latest projects and follow along with what I've been up to. It's bosongkang.com, and I'll include the link in the email. Additionally, I'm quite active on Instagram, as it's a convenient platform for sharing updates and connecting with others. Looking ahead, I have aspirations to participate in exhibitions in Sweden or Denmark. It's something I'm really excited about. Once I finish my current studies, I'm eyeing further education in Stockholm, where I'll dive deeper into the study of weaving. If I get accepted, I'm excited about the prospect of building valuable connections there.
All photos belong to Bosong
