In My Studio: Woodturning Master Sam Choi Sculpts Treasures From Timber

At Walk in the Park in Sandringham, Sam Choi makes beautiful and functional wooden objects inspired by the unique timber he’s working with.

Artist and maker Sam Choi creates pieces from native wood that are made to last, with an elegant and simple aesthetic to weather the trends of time. His dedication to the ritual of his craft has earned Walk in the Park a sought-after place in design stores here and across the Tasman.

Sam’s success has taken grit, determination and resilience. And hours and hours in his workshop, refining his technique, creating pieces that are beautiful and functional. The quiet beauty of his work is captured by his wife Jiho Yun, who takes photographic images that evoke the look and feel of a modern-day Dutch Masters’ still life.

Sam, who was born and raised in Korea, studied design at Hongik University in Seoul. He began learning woodturning in 2016 and his practice is a continual exploration into the art of creating functional and sculptural objects. He makes each piece by hand in his studio in Sandringham, Auckland.

What is it about your work that gets you excited?

I feel that my work is always evolving based on the circumstances of my life and my current interests. Everything is constantly changing and developing in tandem with my personal life.

In the past, I have worked in various roles such as chef, barista, technician and teacher. However, I have finally found a job that doesn’t make me yearn for the next dream job. This may not seem like a special reason, but I truly appreciate it and feel very fortunate.

Moreover, the most enjoyable part is that I can create objects that feel natural to me, which brings me a lot of satisfaction in terms of self-expression.

Describe your studio and how it inspires you.

We moved from Titirangi to Sandringham around the time our daughter, Eden, was born three years ago. It is an old, small family home with a decent garden area at the back and front. I work in a garage at the front of the property.

To be honest, it’s not that interesting compared to my previous studio in Titirangi, which was designed by Auckland architect Tibor Donner. But I have been enjoying this place more because there are more people around while I am working, compared to the Titirangi studio, which was hidden in bush, and isolated from the house. Jiho and Eden often come to my new studio and I have found softer and more organic forms in my work are emerging with their interaction.

Describe your making process.

Woodturning has instant feedback compared to other woodworking practices. Unlike making furniture, it doesn’t require a detailed and accurate sketch, which I am not good at. Beforehand I have a clear image in my head – most of the time. There are exceptions. Sometimes I enjoy getting into a project without much of a plan to discover unexpected shapes and compositions. I like to see what the material will allow me to create and be surprised by the result. This kind of process could never be done with a preconceived plan as I take my direction from the object.

What kind of wood do you use?

Nearly 99% is New Zealand-grown timber, ranging from native to exotic. 95% comes from one supplier in Matamata and 5% from Trade Me and friends. I use many different species in my work.

All the timber I work with is air-dried (as opposed to kiln-dried) and I often use timber regarded as seconds or failed grade due to the defects, knots or cracks. These defects provide a unique character. My favourite native timber is kauri, especially swamp kauri. It features various colours and patterns, depending on the environment that it’s been preserved in and the period of time. And when it’s oiled the rich colours pop out magically. Some are highly chatoyant and almost look like gemstones.

What was the biggest hurdle you overcame in the early years?

Understanding and evaluating the conditions of various non-commercially dried timbers in New Zealand was the most challenging part for me.

During my time at university, I primarily worked with kiln-dried and well-prepared timbers, so I lacked experience in working with greener (higher moisture content) timber. When I started my woodturning career in New Zealand, I was eager to experiment with various timbers that I hadn’t encountered before without knowing the detail of how the timber had been dried.

Fortunately, most of the pieces I created using these unknown conditioned timbers survived, but I did encounter some unfortunate outcomes such as cracks and distortions at times. It took me a while to understand the characteristics of individual species and how to use and care for this type of timber.

Finding the right type of finishing oils for different objects and timbers was much more complicated than I had learned in school. There is no single oil that suits all, and trial and error is the only way to find the right one.

Did you seriously consider giving up?

I am fortunate that there has been consistent growth and demand for my work, even though it does not guarantee a steady income. I take pleasure in earning a living from it, and I am determined not to give up as long as my family is happy.

Have you ever had a business mentor?

No, I haven’t sought feedback because I feel my business is still not at a stage for review by an expert. Additionally, in New Zealand, the work is still primarily regarded as serviced woodworking rather than art and design or a form of creative self-expression.

When someone has popped in to give a piece of advice it has gone off-topic, so finding a mentor has become a last resort. However, it would be wonderful to have someone who has a similar creative background to me provide specific guidance. I hope it will happen one day.

Any tips for other creatives wanting to launch their own business?

I would suggest the following: Keep your focus on developing your narrative and aesthetic rather than being influenced by trends. I see a lot of new objects being showcased on social media every day. There are certainly a lot of talented people emerging, and I am inspired by them. However, I also notice many individuals copying the work of trendy or well-established makers.

Biggest life lesson?

It is important to engage in regular self-evaluation to understand my weaknesses, and invest in learning new things.

What self-care strategies do you have in your life?

I enjoy feeling relaxed when I spend time tidying up and upgrading my space. Cleaning and organising my space gives me a sense of control over my environment and my life, especially during busy or overwhelming times. It’s quite rewarding and contributes to a sense of wellbeing. Sometimes rearranging furniture and decluttering inspires my creativity.

What advice would you give your 15-year-old self?

Love yourself. Have good role models that inspire you to be better. Your future depends on yourself and what you do to shape it. It cannot be ruined by things like luck or fate or such.

What inspires you?

I believe my work is more about expressing my interests rather than simply providing a service to others. I don’t necessarily focus on following the latest trends but draw inspiration from old books and vintage markets.

What’s important to me is to create pieces that reflect my ideas and narratives, rather than relying on the ideas of others. Because of this, I strive to incorporate diverse perspectives and approaches into my work to widen its appeal and to allow it to be appreciated in many different homes.

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