Jason Edwards – Interviews
Through a chain of connections and a spirit of adventure, the SIGORLIFE team travelled to Europe, finding open doors and warm hospitality in France and Luxembourg. Their journey reflects a rare kind of cultural exchange, built not on big cities or institutions, but on human encounters and rural identity.
Our conversation took place digitally from Bu‑an on July 12, 2026, where the team is based. It was clear to me that their initiative deserved to be highlighted, and this interview offers a closer look at their vision, their work, and the creative energy they carry from their hometown to the world.
1. Could you introduce yourself and tell us about the SIGORLIFE brand/team?
Yoon Na‑yeon: “Hello, I’m Yoon Na‑yeon, a 27‑year‑old adventurer born in Korea. SIGORLIFE is a creative crew that explores small towns and rural areas — places people rarely look at closely — and turns the beauty and inspiration found there into artistic creations.
The team began when I changed the way I thought about my future. I originally wanted to become a diplomat and work in international relations. I studied political science and went to the UK as an exchange student to see more of the world. But when COVID‑19 hit, I had to return to Korea, and I learned that my parents had moved to Bu‑an, a rural region. At first, I thought, ‘How can I pursue my dream in a place like this?’
Then I read Tina Seelig’s book What I Wish I Knew When I Was 20. One sentence struck me deeply: ‘People who truly change the world don’t chase opportunities — they create them.’ Instead of blaming my environment, I decided to build something myself.
I began thinking about a different way to approach international exchange — not through a diplomatic career, but by creating my own originality first. I worked at the Agricultural Technology Center, where I met Hyun‑jun (field operations) and Hyun‑young (designer), who later became core members of SIGORLIFE. Through many encounters, the team eventually came together.”
The team began when I changed the way I thought about my future. I originally wanted to become a diplomat and work in international relations. I studied political science and went to the UK as an exchange student to see more of the world. But when COVID‑19 hit, I had to return to Korea, and I learned that my parents had moved to Bu‑an, a rural region. At first, I thought, ‘How can I pursue my dream in a place like this?’
Then I read Tina Seelig’s book What I Wish I Knew When I Was 20. One sentence struck me deeply: ‘People who truly change the world don’t chase opportunities — they create them.’ Instead of blaming my environment, I decided to build something myself.
I began thinking about a different way to approach international exchange — not through a diplomatic career, but by creating my own originality first. I worked at the Agricultural Technology Center, where I met Hyun‑jun (field operations) and Hyun‑young (designer), who later became core members of SIGORLIFE. Through many encounters, the team eventually came together.”
2. As a creative director, how do you approach your work artistically?
Yoon Na‑yeon: “The creative director for our artwork is actually our designer, Oh Hyun‑young. My role is to shape the brand’s direction and storytelling.
Our most important principle is: ‘Every creation must have a clear source.’ We want people to know where the inspiration comes from and what story gave birth to the work. Bu‑an, the land we live in, is the root of everything we create.
Another key element is accessibility. We aim to make art that even a five‑year‑old can understand and enjoy. That way, anyone — older adults, people unfamiliar with art, or those with disabilities — can feel comfortable engaging with our work.
Our products reflect this philosophy. The characters representing each village in Bu‑an are designed in simple, recognizable forms. Wordplay like ‘Even clams rock!’ makes people smile, even foreigners who don’t know Korean culture — one short explanation is enough. At the Paris Hope Festival, French visitors reacted instantly thanks to this simple and joyful approach.”
Our most important principle is: ‘Every creation must have a clear source.’ We want people to know where the inspiration comes from and what story gave birth to the work. Bu‑an, the land we live in, is the root of everything we create.
Another key element is accessibility. We aim to make art that even a five‑year‑old can understand and enjoy. That way, anyone — older adults, people unfamiliar with art, or those with disabilities — can feel comfortable engaging with our work.
Our products reflect this philosophy. The characters representing each village in Bu‑an are designed in simple, recognizable forms. Wordplay like ‘Even clams rock!’ makes people smile, even foreigners who don’t know Korean culture — one short explanation is enough. At the Paris Hope Festival, French visitors reacted instantly thanks to this simple and joyful approach.”
3. What traditional or local Korean elements inspire your work?
Yoon Na‑yeon: “We don’t draw inspiration from ancient eras like Joseon or Goryeo. Instead, we focus on the authentic elements of Korea’s rural life from the 1970s and 1980s — the era that still shapes the countryside today.
Our inspirations come from:
• Bu‑an’s tidal flats and clams,
• the West Sea’s seafood,
• seasonal changes in the fields,
• old alley textures,
• the lifestyle of grandmother generations.
These are things you encounter simply by walking around.
Technically, we use modern graphic design and screen printing, but the stories and materials are deeply local. Our ‘inspiration map’ shows this process clearly: walking, observing, recording, transforming.”
Our inspirations come from:
• Bu‑an’s tidal flats and clams,
• the West Sea’s seafood,
• seasonal changes in the fields,
• old alley textures,
• the lifestyle of grandmother generations.
These are things you encounter simply by walking around.
Technically, we use modern graphic design and screen printing, but the stories and materials are deeply local. Our ‘inspiration map’ shows this process clearly: walking, observing, recording, transforming.”
4. Which project best represents the spirit of SIGORLIFE?
Yoon Na‑yeon: “Two projects stand out:
The ‘How old do you think I am?’ series: This project challenges social barriers related to age, background, or status. We collaborated with grandmothers from Bu‑an, who proudly wear the message. Their confidence expresses exactly what we want to say: creativity has no limits.
The Bu‑an Inspiration Map: We walked through all 13 districts of Bu‑an, found inspirations, documented them, and turned them into characters. It’s not the map itself that defines us — it’s the process behind it.”
The ‘How old do you think I am?’ series: This project challenges social barriers related to age, background, or status. We collaborated with grandmothers from Bu‑an, who proudly wear the message. Their confidence expresses exactly what we want to say: creativity has no limits.
The Bu‑an Inspiration Map: We walked through all 13 districts of Bu‑an, found inspirations, documented them, and turned them into characters. It’s not the map itself that defines us — it’s the process behind it.”
5. Are there any current or upcoming projects you’d like to share?
Yoon Na‑yeon: “We’re working on a creative travel program called ‘Inspiration of Bu‑an.’ We want creators — or those who dream of becoming creators — to join us in Bu‑an, walk with us, observe, document, and create their own work. It’s not simple tourism. It’s an immersion into our way of finding and translating inspiration.”
6. How was your experience staying with a French family?
Yoon Na‑yeon: “Delphine’s family welcomed us with incredible generosity. They invited five Korean strangers into their home, cooked for us, and guided us through Verdun and the Meuse region for three days.
Honestly, the hospitality felt more Moroccan than French, because Delphine’s husband, Abdel, is Franco‑Moroccan. In Moroccan culture, there’s a belief that ‘a guest is sent by God.’ This warmth reminded us of Korean village hospitality.
Just like in Korea, everything began with food. We felt comfortable right away.
This experience also touched one of my long‑held dreams: connecting rural Korea with rural communities abroad. Seeing Bu‑an link with a French countryside was a powerful moment. We’re continuing to explore future collaborations.”
Honestly, the hospitality felt more Moroccan than French, because Delphine’s husband, Abdel, is Franco‑Moroccan. In Moroccan culture, there’s a belief that ‘a guest is sent by God.’ This warmth reminded us of Korean village hospitality.
Just like in Korea, everything began with food. We felt comfortable right away.
This experience also touched one of my long‑held dreams: connecting rural Korea with rural communities abroad. Seeing Bu‑an link with a French countryside was a powerful moment. We’re continuing to explore future collaborations.”