The Paper Sculpture Universe of Julian Park
S l o w l y , Y e t P e r f e c t l y . . .
U n f o l d e d P h i l o s o p h y i n P a p e r
In a world increasingly dominated by the digital and ephemeral, Julian Park dares to return to the primal poetry of the tangible.
His chosen medium?
Paper !
Paper—the seemingly fragile, yet enduring material that has carried human thought, ritual, and memory for millennia.
But in Park’s hands, paper transforms.It breathes.
It takes flight.It becomes a body, a bearer of myth, a vessel for healing.
Born from the meditative depth of philosophy, shaped by years of artistic exploration across performance, installation, and education, Julian Park’s paper sculptures—known under the signature of JPC (Julian's Paper Craft)—are not simply crafted objects; they are codified worlds, each imbued with spiritual resonance and a whisper of ancient narratives.
At the heart of Park’s process lies his singular methodology: the Complete Codex (CC) approach. It is not merely a technique—it is a metaphysical discipline. Each piece is designed as a microcosm, complete in form, story, and energy, from its rotational axes to the hand-clipped wire joints and symbolic contours. Every figure exists in 360 degrees of intentionality, inviting viewers to orbit, contemplate, and engage in a spatial dialogue.
His signature series, “HIMMELSREITER” (Sky Riders / 천공기사단), brings forth winged warriors—not of war, but of peace, healing, and justice. These ethereal beings echo the sacred horses of Goguryeo murals, the celestial grace of Silla’s Cheonmado (Heavenly Horse Painting), and the winged archetypes of Western mythologies.
Each Rider carries its birth number, story, and name, forming a constellation of protectors and dreamers.
Julian Park’s paper works are not static.
They evolve within the spaces they inhabit—interior sanctuaries, curated homes, or contemplative galleries—changing light into rhythm, and silence into presence. To live with a JPC work is to allow a quiet revolution of atmosphere. It does not shout; it listens. It does not decorate; it converses.
There is something profoundly democratic in Park’s work:
a return to simplicity as depth, to the handmade as revelation.
And yet, they remain sophisticated—conceptual artifacts that hold their ground in both poetic and philosophical spheres.
The metallic hues on linen paper, the deliberate shadows,
and the spatial dynamics cohere into a new grammar of contemporary sculpture—one that speaks with
both ancestral reverence and visionary clarity.
As the world shifts into uncertainty, Park’s paper riders soar—
not to escape the world, but to quietly defend it.
With wings spread in stillness, they remind us:
art is not merely to be seen, but to be kept close—
like breath,
like memory,
like light.