Subin Seol

Numerous studies reveal a widespread discomfort and aversion towards discussions about death and making end-of-life plans. Lack of advance directives indicates a widespread reluctance to think about death or dying, further substantiated by high levels of death anxiety and fear reported in surveys. Moreover, a significant discrepancy exists between the importance placed on communicating funeral wishes and the percentage of individuals who have actually done so. 

The discomfort and reluctance towards death and end-of-life conversations, reveal a societal gap that needs addressing. There is a need for a paradigm shift in the way society engages with the concept of mortality, transitioning from avoidance to acceptance and open conversation. It is within this context that "Mortality Matters" becomes an instrumental intervention.

Extensive research was conducted to delve into the various aspects of death, considering cultural, religious, and temporal factors. The exploration encompassed diverse subjects, ranging from Vanitas still-life paintings, which aimed to awaken an awareness of mortality within the realm of everyday life, to the ancestral customs of Navajo Indians and the traditional Irish wake practices. Additionally, in-depth investigations were carried out by visiting different cemeteries in London to examine the elements, visual language, and materiality associated with these sacred grounds, thereby augmenting the understanding of death.

Among the manifold influences encountered, the genre of Vanitas still-life paintings had the most profound impact. Originating in the 17th century, Vanitas art sought to emphasize the ephemeral nature of existence and the inescapable reality of death. Artists adept in the Vanitas approach skillfully incorporated symbolic representations of mortality, such as skulls and decaying objects, serving as poignant reminders of life's transience. The evocative nature of this genre has significantly shaped the perspective on mortality and has been instrumental in refining personal reflections on the subject matter.

Before the Mortality Matters project, I designed a totem called “Urn of Transience” as a tool for intensive exploration of the theme of death. Following the concept of "Thinking through making" from the Matter platform's curriculum, designing and creating this totem allowed me to clarify my thoughts and criteria regarding how I wanted to approach the topic of death. The project, which began with a behavioural analysis approach of "How can we make people contemplate death more naturally and less fearfully?" has formed the core content (urn making) of Mortality Matters, shaping the identity of the project.

-

This project offers a unique approach to the concept of urns. At its core is an hourglass-shaped urn, symbolising the transience of life. It goes beyond being a functional object and seamlessly integrates into your daily life as a piece of homeware, serving as a constant reminder of life's fleeting nature. The design has the potential to fulfill various roles, such as lamps, vases, fruit bowls, jars, and candle holders.

Each time this urn is used in daily life, it helps instill a clear perspective on life and death, empowering you to establish your priorities and cultivate gratitude for the world around you. Furthermore, your attitude towards death, as reflected through this urn, will continue to impact your family after you pass away. They will see and experience your perspective through the object that has become your urn. This project embodies a new way of thinking about death, bringing it closer to everyday life.

Within Mortality Matters, I facilitate two interconnected programs – the Pottery Workshop and the End-of-Life Planning Program. These initiatives form a symbiosis of sensory experience and end-of-life discussions, creating an atmosphere that is at once tactile and reflective.

The Pottery Workshop is not merely an exercise in creativity, but a journey into understanding the passage of time and the transformation of life, similar to the clay in our hands. Participants are guided to design and create their own urn or 'legacy pot'. These dual-purpose creations can function both as future vessels for remains and as everyday homeware, serving as gentle, physical reminders of life's transience. The act of manipulating clay offers therapeutic benefits, proven to reduce stress and anxiety, and enhance a sense of calm.

Running in parallel, the End-of-Life Planning Program invites participants to confront, explore, and discuss the oft-avoided topic of death. It begins with an end-of-life survey, promoting open dialogue about perceptions, fears, and aspirations surrounding death and dying. The goal is to provide the knowledge and understanding needed for individuals to confront their mortality and engage in end-of-life planning.

The harmonious integration of these two programs forms the heart of Mortality Matters. It combines the tangible and therapeutic qualities of pottery with critical conversations about end-of-life, thereby creating a unique experience that encourages a healthier and more open engagement with the concept of mortality. This approach upholds professional standards in the fields of therapeutic art and psychology, aiming to contribute meaningfully to society's evolving relationship with death.

Focused on pottery and ceramics, Mortality Matters also explores the use of ceramics as interior and architectural materials, particularly ceramic tiles. Mortality Matters' ceramic tiles come in two varieties - 'Modular 3D tiles' for functional space design, and 'Narrative tiles' embodying the brand's story.

“Remembrance" is a transformative design project by Korean furniture designer Subin Seol, aiming to immortalize architectural heritage lost through demolition. This unique collection is crafted using salvaged handrails from the now-demolished Fawley Power Station, a notable landmark celebrated for its distinctive Brutalist aesthetic. Once a symbol of regional pride, this cherished site is thoughtfully commemorated through functional design pieces, serving as physical reminders of the architectural legacy.

The collection, composed of a dining chair and coffee table, encapsulates the original aesthetic of the Fawley Power Station. Although the handrails represent just a fragment of the building, they embody its architectural DNA, making each piece a tangible link to the past. The irregular shapes and marks of the handrails are embraced as design features, showcasing the beauty of the building's raw Brutalist aesthetic and history.

Seol's project deviates from traditional methods of remembering demolished buildings, such as photography or videography. Instead, it offers a more intimate interaction with the architectural past through repurposed elements of the original building. This innovative preservation method redefines how we value and remember our architectural heritage.

Moreover, salvaging and repurposing materials underscores the importance of sustainable design. By breathing new life into discarded handrails, the project mitigates environmental impacts associated with new material production and prevents these elements from ending up as landfill waste.

Through this project, Seol echoes a resounding call for preservation and sustainability. Each piece from the "Remembrance" collection is more than just furniture—it's a unique narrative, a tribute to lost architectural heritage, and a catalyst for preserving it for future generations. This concept of material reincarnation posits a thoughtful, innovative solution for retaining our architectural history and preserving it for posterity.

Collaborated with Retrouvius

First presented at Fuorisalone 2023. All Rights Reserved by Subin Seol, 2023.