FICT STUDIO is an independent design studio founded in 2016 by South Korean designer Heakyoung Jang. The name of the studio, inspired by the phrase “From craft to industry,” reflects her philosophy of exploring the flow and intersections between craft and industry.

With a background in industrial design, Jang delves deeply into the essence and value of craft, reinterpreting it within a contemporary context. To her, craft transcends the realm of materials and techniques; it is a rich collection of possibilities encompassing culture, tradition, craftsmanship, and a timeless sense of empathy and connection. She believes that craft holds the potential to evolve as a unique and invaluable resource that harmonizes with modern society.

Through experimental material exploration and process research, Jang focuses on translating the essential elements of craft into a modern language. Her work investigates the intersections of tradition and modernity, creating new sensory experiences through layers of materiality, technology, and time. This process is not merely about producing objects but also about exploring the stories embedded in the things we use, the emotional resonance they carry, and their cultural significance in our lives. Grounded in this approach, FICT STUDIO serves as a platform and experimental space that demonstrates how craft and design can create new value and expand their meaning within the fabric of contemporary society and culture.

1. Where were you born and where are you from ?

I was born and raised in Seoul, South Korea.

2. What is your first memory connected to the art world ?

I grew up naturally surrounded by art. I spent my childhood drawing, making small sculptural objects, and attending art schools and studios where I received a classical arts education. Those early memories continue to form the foundation of my practice today.

3. Have you always worked in the art/design field ?

Yes. My career began with my university graduation project, after which I established my independent studio. Since then, I have been working continuously within the space between art and design.

4. What led you to the design creation ?

I am often inspired by a sense of absence—by things that are overlooked, undervalued, or slowly disappearing. Many of my projects begin with a desire to re-examine such materials and reinterpret their significance. I’m drawn to the narratives embedded within materials, and transforming those stories into sculptural form is a central part of my process.

5. How would you describe your creative process and it influences ?

My work begins with exploring the latent potential of materials. I test their physical qualities and limitations, searching for the moment when they naturally reveal their preferred forms or structures. Because the results of research and experimentation guide the final shape, the sculptural language arises organically from an understanding of the material itself.

6. Could you describe a typical day of your work ?

My studio consists of two separate spaces: a clean room for digital work and rendering, and a tough room where the physical making happens. I usually spend my mornings in meetings, responding to emails, or conducting research and digital tasks. The afternoons are dedicated to hands-on fabrication. My day finds its rhythm by moving between these two environments.

7. Why did you choose the specific materials you work with ?

I often work with resin because of its remarkable openness and adaptability. It pairs well with a wide range of materials, softening their limitations and amplifying their strengths. New resin technologies and products are constantly emerging, which allows the expressive possibilities of my work to keep expanding.

8. What are the technical particularities of your creations ?

The technical foundation of my work lies in creating stable coexistence between materials of different natures. Mother-of-pearl, resin, and ceramics each possess their own unique physical qualities. I carefully design the internal structure and bonding methods so that these natural and synthetic materials meet harmoniously without losing their individual character. This point of equilibrium defines the sculptural identity of my pieces.

9. What advices could you give to beginning artists who would like to create sculptural design works ?

Don’t rush. A sculptural language doesn’t form overnight. It takes countless experiments and failures to understand what you’re truly seeing and feeling.

Especially when working with materials, it’s important to listen to the direction the material itself suggests rather than trying to control it completely. If you endure that slow, accumulative process, your own world will eventually emerge with clarity and authenticity.

10. If your works had to belong to a design movement, in which one would you define it ?

My work sits at the intersection of emotional minimalism, material-driven design, and collectible/ contemporary sculptural design. I eliminate unnecessary elements while focusing on revealing the hidden sensory qualities of materials. I aim for pieces that are more sculptural than functional—works that create a specific presence or atmosphere within a space.

11. What designers and artists have influenced you ?

I have been strongly influenced by the works of Ronan Bouroullec, Gaetano Pesce, Vincenzo, Peter Alexander, Craig Kauffman, and Helen Pashgian.

12. What contemporary designers do you appreciate ?

I draw inspiration from a wide range of contemporary designers, including Rick Owens, Faye Toogood, Max Lamb, Dimore Studio, Marcin Rusak, and Natural Material Studio.

13. What contemporary artists (in any kind of art) have you been inspired by ?

The works of Isamu Noguchi, Lee Ufan, Ha Chong-hyun, Richard Serra, and Roni Horn have had a lasting influence on my sculptural sensibility and approach.

14. If you had to summarize your creations in one word or sentence, what would it be ?

Material-driven sculptural work rooted in emotional minimalism.

15. Is there anything you would like to add ? 

My work always begins with exploring the “in-between”—the point where contrasting qualities meet and quietly form a sense of balance. When nature and the artificial, matter and light, solidity and fluidity coexist within a single form, I feel the work’s identity truly emerges.

This interview has been a meaningful opportunity to reflect on my practice. I hope it contributes to an ongoing conversation about the expanding possibilities of contemporary design and helps create deeper connections within this field.

PROUST QUESTIONNAIRE
(The Proust Questionnaire is a set of questions answered by the French writer Marcel Proust.
Other historical figures who have answered confession albums are Oscar Wilde,
Karl Marx, Arthur Conan Doyle, Stéphane Mallarmé, Paul Cézanne…)

11. Which words or phrases do you most overuse?

“좋아요.” / “Great.”

12. Which talent would you most like to have?

Wit.

13. If you could change one thing about yourself, what would it be?

Impatience.

14. What do you consider your greatest achievement?

Finding my own language.

15. If you were to die and come back as a person or a thing, what would it be?

A plant.

16. Where would you most like to live?

Studio.

17. What is your most treasured possession?

Not attached to objects.

18. What do you regard as the lowest depth of misery?

Meaninglessness.

19. What is your favorite occupation?

Studio.

20. What is your most marked characteristic?

Sensitivity.

21. What do you most value in your friends?

Honesty.

22. Who are your favorite writers?

Han Kang.

23. Who is your hero of fiction?

Bella Baxter from Poor Things.

24. Which historical figure do you most identify with?

None.

25. Who are your heroes in real life?

Craftspeople.

26. What are your favorite names?

River.

27. What is it that you most dislike?

Chaos.

28. What is your greatest regret?

Timidity.

29. How would you like to die?

Peacefully.

30. What is your motto?

Form is a record of sensation.