Haphazard Project

Wook Seo

Wook Seo (Hyunwook Seo) is a visual artist based in Seoul and New York, who refuses to be confined to a specific culture or style, positioning himself as an intermediary in the gaps between boundaries. He earned both his bachelor's and master's degrees in Metal Craft from Seoul National University and later received an MFA in Fine Arts from the School of Visual Arts (SVA) in New York. Following this, he participated in a residency program at Flux Factory in New York, where he engaged in various collaborative projects and exhibitions.

Recently, he has been devoted to adding narrative layers to the imaginations he builds within digital spaces, materializing them through carefully chosen mediums, and presenting them to the audience. The physical entities he creates pull viewers into the digital realm, inviting them into his narratives regardless of their generation or background knowledge.

CV

Project

Haphazrd
Trickster
Fantasy

HAPHAZARD PROJECT HAPHAZARD PROJECT

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HAPHAZARD PROJECT
HAPHAZARD PROJECT

 2016.05.26 - 2016.06.05
 Installed at The Hole, NYC, NY

DESCRIPTION

This project emerged at a point when I had grown comfortable with digital tools, moving away from traditional methods. As I became more proficient in CAD software, I found myself able to intuitively manipulate the keyboard and mouse to imagine and visualize forms directly in digital space.

The Haphazard Project is a collection of three-dimensional forms created through a spontaneous and intuitive process, under the premise of printing CAD drawings on paper, assembling them into physical structures, and using those as the basis for further development. I translated these digital forms into printed blueprints at a 1:1 scale, assembled them, and added various materials to give them physical presence.

What sets this project apart is its reversal of conventional workflows. Instead of starting with a concept, moving to drawings, and then constructing three-dimensional forms, I work in the opposite order. I begin by intuitively modeling forms in CAD software, then build them physically, and only afterward translate them into two-dimensional drawings.

This reversal of process—disrupting the usual sequence and causality of media—opens new possibilities for imagination and creation. Ultimately, it results in a final work that is best suited for direct engagement with the viewer.