designer : JEON SANG IL(HERITAGE OF SANG IL)

photo : Park Yoon / maker : 숨쉬는 깡통, Kim Jong Ho.

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<Work Description>

The contemporary people actively explore and consume new cultures and exert influence by actively self-presenting in reality and in virtual about what kind of people, what spaces, and what experiences they have. In this way, through Korean design archetypes, 'ILLIOWNERAA'(이리오너라), seeks to spread positive Self-presentation Memetic Experience.

I used to take pictures whenever I came across the beauty of Korean design.

From classics such as Gwanghwamun, Geunjeongjeon of Gyeongbokgung Palace, Bulguksa Temple, Gwannyongsa Temple in Changnyeong, Myeongnyundang of Sungkyunkwan, and Anui Gwangpungru in Hamyang to neighborhood apartments and pavilions on the promenade, the Korean design philosophy felt in 'roofs, cornerstones, eaves, and pillars' is 'not too much.' In this respect, Korean design offers meditation and relaxation.

In 2021, I organized my thoughts again through Korean philosophy and beauty revealed in the movie 'Jasaneobo'(The Book of Fish, 2021).

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<Acknowledgement>

The Korean Design History course in the doctoral program influenced the development of the theoretical foundation for this researcher’s study on the Memetic Experience Design.

Based on this, the researcher completed the work ‘ILLIOWNERAA’, which explores the Self-presentation Memetic Experience Design, a synthesis of the previously studied themes of the Self-presentation Experience and Memetic Experience.

Through this, the work was able to gain greater depth, and the researcher expresses sincere gratitude to the professors who taught the course.

The following artwork description reflects key concepts covered in the course, which served as important inspiration in the completion of the piece.

Unlike the history of Western design, which developed alongside the mainstream design world represented by the Industrial Revolution and Modernism, the modern and contemporary history of Korean design emerged as a hybrid of Western and Korean elements—shaped by Korea’s position as a latecomer to industrialization and a victim of colonialism.

After liberation, design in Korea developed under state-led initiatives such as the Saemaul Undong (New Village Movement), the establishment of the Korea Institute of Design Promotion, and the hosting of the 1988 Seoul Olympics. Today, along with various efforts to explore the identity of Korean design, Hallyu (the Korean Wave) has gained global recognition and cultural presence.

Korean design reveals a unique identity by fusing tradition and modernity.

‘ILLIOWNERAA’ and ‘ILLIOWNERAA metal’ express Korean design that asserts its presence through a fusion that overcomes hybridity.

First, while adopting Western styles such as metal and acrylic materials, modern style, minimalism, and mid-century style, it reinterpreted the archetypes of traditional Korean design into contemporary forms.

Second, by combining traditional Korean circular rings, the EBS Hunminjeongeum font, and chain rings in street design style with the italicized Akzidenz-Grotesk font, it fused Korean design with Western design.

Through this attempt, Korean design expressed its confidence as a global citizen with the cry of “ILLIOWNERAA~!”, a proud Self-presentation to the world as a fusion that overcomes the hybridity of imitation of Western design.

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<On the Title : ILLIOWNERAA~!>

"ILLIOWNERAA~!" is a visually reconstructed title of the Korean expression “이리오너라~!”.

This expression is an archaic and vocative utterance used in traditional performances such as those in the royal court or pansori during the Joseon Dynasty, as well as in pre-modern everyday language.

It is a form of address that calls someone and creates a situation or relationship through language.

Literally, it means “Come here~!”, and carries both a sense of authority and hospitality.

The Self-presentation Meme “ILLIOWNERAA~!” is not a stern command, but an expression imbued with Korean humor and playfulness.

It playfully twists the tone of traditional authority, becoming a witty phrase that brings a smile to the listener.

It is a gesture of cultural hospitality, and also a greeting from Korean design to the world.

In this work, "ILLIOWNERAA~!"(“이리오너라~!”) is not merely an old-fashioned expression, but a symbolic act of Self-presentation.

It is a cry that declares the subjectivity and presence of Korean design within the global design discourse.

This cry, corresponding to traditional Western expressions such as “Ho there!”, “Come forth!”, “Approach and be recognized!”, is not merely a call for attention, but a declaration of existence, an utterance of cultural pride, and an announcement of identity.

This is a declaration that Korean design is no longer based on imitation, but on confident self-presentation through fusion, joining the world.

Therefore, "ILLIOWNERAA~!" is a Self-presentation Meme, and a Self-presentation of Korean design toward the world.