Yana Karnaukhova: Steven, can you share the story behind the founding of kar Studio? What were the core principles that guided you in establishing the brand, and what motivated you to embark on this journey?

Steven Yeung: I have quite a sensitive character, and I want to bring sensibility into the traditional furniture industry, which is more rational-oriented. Before establishing kar, I used to do interior design. I found there were limited home styles and felt bored choosing among them. Through this, I gradually found my passion and talent for furniture design, so I wanted to create a home furnishing brand that could fully express my understanding of aesthetics – so, here comes kar.

YK: With kar studio’s unique and visually striking furniture pieces, could you elaborate on the design philosophy that underpins your creations? How do you incorporate the oriental spirit of wabi-sabi and modern aesthetics into your work?

SY: I didn’t mean to emphasize any style characteristics or visual impact. All the inspirations and creations happened so naturally – this is related to the brand name “kar” (karma). There lies a cause-and-effect relation in all the achievements, which is also the case with aesthetics. What I do is simply to express it honestly. That’s why when people see kar’s work, they can see my experiences, values, emotions, and more. And this is even acting more faithful to myself than how I communicate with you directly. The aesthetics of  “wabi-sabi” and “modern” could be explained above, and all the combinations come naturally, just like meanwhile I absorb the traditional Eastern cultures, simultaneously, I take steps forward in pace with this rapidly developing era.

YK: Walk us through your creative process, from the initial concept development to the final execution of a project. Are there any specific stages or techniques that you follow?

SY: Our first furniture collection, titled “Not by Intention”, applies the shape of hand-built clay to convey the spirits and emotions of the creative moment. Every strength and impulse from the fingertips, the feedback of the clay and the temperature, etc., can be reflected throughout the creative process. The birth of this collection was accompanied by occasionally and aesthetic intuition.
When the clay model is done, fibreglass is chosen as the medium to make productions; because of its versatility, all the traces on the clay model will be perfectly recorded in the finished product, spreading the aesthetics and emotions aroused during the moment of creation. Our artisans burnish and polish the pieces by applying the most elaborate processes, endeavouring to preserve the original handmade traces to present the essential beauty of each piece.

YK: Why did you choose the specific materials you work with ?

SY: The material is a carrier, and it is of the utmost importance to me to source the most appropriate material to accurately convey the design concept of the work. For example, the “Not by Intention” series is aimed to heighten the organic shape from hand-built clay sculptures, which leads to the application of fibreglass; the “Oracle” series, which seeks to portray the ancient style of Chinese calligraphy and hieroglyphs, we have to use solid wooden structure dated from the old times.

YK: As kar studio embraces the Eastern philosophy of “karma” and its connection with time, nature, and interpersonal relationships, how do you incorporate these values and concepts into your design approach? How do they influence the overall aesthetic and meaning behind your creations?

SY: I did not ponder too much about integrating these values and concepts into the design method; the important thing is always, to be honest about the changes in my aesthetics and emotions. When I know myself well enough, the work will naturally follow my “cause and effect” flow. I have always considered ” people ” the most critical concern, compared to data that can be accurately measured, people are always unpredictable. Therefore, kar’s creation always seeks to establish a spiritual echo.

YK: In your quest for beauty and values, how do you navigate the cause-and-effect relationships and emotions that arise during the creative process?

SY: This is a significant question; in the process of creation, the creator’s personality affects the creation, and the creation’s process and result also affect the person’s personality. This is the flow of cause and effect. It is a karmic cycle, and over these years, I am moving even closer to my work. I create my work, and my work is, at the same time, creating a new me. I have been observing and enjoying these changes.

YK: The seemingly primitive appearance of kar Studio’s designs contrasts with the exquisite textures and powerful inner energy they possess. How do you achieve this delicate balance between simplicity and intricacy, between primal aesthetics and refined craftsmanship?

SY: The more you want to express the original texture, the more exquisite craftsmanship you need. Initially, we had great difficulties finding the right skill and worker to meet our requirements because exquisite craftsmanship requires not only technique but, more essentially, the craftsmanship spirit, contrary to the modern pursuit of profit and efficiency. Luckily, we have found artisans willing to go along with our pace, and all the inspiration and concepts are passed on through their craftsmanship to convey a kind of inner energy.

YK: As you strive to maintain an elegant balance between life and art, how does this philosophy manifest in your designs?

SY: Furniture is a distinctive field, apparently not a piece of fine art, but an essential part of people’s lives; you always need to use them. I care about people’s comfort when using the furniture; of course, this feeling of comfort also includes a visual sense of aesthetics. Therefore, we have always pursued creating balanced works on both sides – aesthetical and functional.

YK: Looking ahead, what are your aspirations for the future of kar studio? Are there any particular areas of design that you are eager to explore or new materials that you would like to incorporate into your creations?

SY: kar never had any specific plans or expectations, and we never created for the sake of creating but to make the most of inspirational moments. I don’t think inspiration comes for nothing. I look forward to getting in touch with more exciting things in the future. Of course, I may also encounter new materials that are surprisingly good for creating new work that I have never tried before. In other words, the development of kar highly relies on opportunities.

YK: Collaboration has the potential to bring fresh perspectives and expand creative horizons. Are there any plans or desires to collaborate with other artists or designers in the future?

SY: I would love to collaborate with more artists with like-minded aesthetics and values, and it is a process of collision and fusion of ideas. I don’t make any plans deliberately, so I look forward to future surprises.