In the shifting landscape of contemporary craft, one question echoes with increasing urgency: how do traditional methods remain alive without becoming frozen in time? Can the language of handcraft still speak—relevantly, poetically—within a hyper-digital, fast-paced material world?

These questions lie at the heart of the practice of London-based metalsmith and jewellery artist Youyang Zhao. His two most recent bodies of work, exhibited as part of Unanchored Crafting during London Craft Week 2025 at Alsolike Gallery, offer nuanced responses. The Lacquered Metal Vessel Series and the Sake Set Series are not simply aesthetically refined objects; they represent a sustained inquiry into the limits and possibilities of craft, the tension between permanence and transformation, and the interplay between tradition and reinterpretation.

A Craft Rooted in Hammering

Zhao’s background in metalsmithing and jewellery design began in Taiwan, where he studied at Fu Jen Catholic University, before continuing his education at the Royal College of Art in London. His practice centres on hammering—not only as a technique for shaping metal, but as a mode of sensory engagement. Over time, he has cultivated an intimate understanding of how metal responds to impact, developing a sensitivity to its resistance, flexibility, and subtle transformations.

His vessels are conceived as miniature sculptures. Rather than pursuing symmetry or industrial regularity, he embraces asymmetry, ambiguity, and organic imperfection. Each curve and contour reflects a pursuit of harmony within imbalance. This approach allows his work to preserve the tactility of handcraft—retaining surface textures, minor inconsistencies, and deliberate flaws that invite closer attention and reveal a layered, living aesthetic.

Zhao’s particular sensitivity to materials is further informed by his deep commitment to traditional silversmithing techniques. Each vessel undergoes an intensive process of shaping, refining, and detailing—from raising and forming to the final patination. This physical engagement with the material becomes a meditative act, through which knowledge is not only applied but continuously rediscovered.

Reimagining Lacquer Through Metal

The Lacquered Metal Vessel Series challenges conventional associations between lacquer and its traditional substrates such as wood or bamboo. In this body of work, Zhao applies the Japanese hen-nuri (変塗) technique—typically used to achieve translucent layering—to hammered copper vessels. The lacquered areas appear rich and luminous, while the exposed copper surfaces are chemically patinated, producing dynamic colour variations that shift with time and temperature.

This juxtaposition between the enduring quality of lacquer and the evolving nature of copper creates a temporal duality. The process highlights a dialogue between stability and change, with each vessel embodying two timelines within a single form. Rather than concealing the raw texture of the metal, the lacquer accentuates it, allowing each layer to become part of a broader narrative of endurance, refinement, and material contradiction.

The series exemplifies Zhao’s exploration of how culturally and functionally bound materials can be re-contextualised without losing their historical depth. Through this merging of techniques, the works evoke new meanings that reach beyond the decorative, proposing lacquer as a resilient medium of contemporary expression.

Moreover, the works draw attention to the act of preservation in craft: while the lacquer seals and stabilises the surface, the copper’s patina remains active and responsive to environmental conditions. This co-presence of control and unpredictability allows each vessel to become a site of material negotiation, one in which durability and change are in constant dialogue.

Reconnecting Hand and Function

The Sake Set Series approaches a different line of inquiry—one rooted in the relationship between object and user. Drawing from the sensorial rituals of Japanese sake culture, these vessels are designed to engage both the eye and the hand. They are formed from silver and copper sheets, soldered and meticulously hammered to fit the natural curvature of the hand.

Flame patination lends the copper surfaces a vibrant spectrum of colour, ranging from warm oranges to deep purples, while the silver introduces a visual and tactile contrast. Every curve is refined through countless hammer strikes, resulting in minimalist forms that prioritise both comfort and clarity. The simplicity of the silhouettes belies the complexity of their making; each vessel is crafted to deliver not only functionality but a subtle, embodied experience.

The vessels are designed not only for use but for ritual. Their scale and proportion reflect an awareness of how physical gestures shape emotional presence. A cup that fits gently in the palm becomes an invitation to pause, to savour, to connect.

Continuing from Zhao’s earlier investigations into mixed-metal vessels at the Royal College of Art, the Sake Set Series demonstrates a seamless balance between utility and refinement. Its nomination for the 2024 ITAMI International Craft Exhibition affirms the resonance of this work within an international dialogue on contemporary craft.

Between Object and Experience

Across both series, Zhao presents the vessel as more than a utilitarian form—it becomes a container of time, process, and sensory memory. His objects operate in the space between sculpture and function, offering tactile encounters that invite contemplation. The surface tensions between polished and rough, rigid and curved, internal and external—these contradictions are not resolved, but held together, forming complex, layered presences.

Rather than updating traditional techniques for the sake of novelty, Zhao constructs forms that carry multiple material histories. His works do not collapse cultural or temporal differences but allow them to coexist—unstable, open-ended, and quietly potent.

This approach positions Zhao’s work within a broader rethinking of craft: as a space for inquiry rather than resolution, as a process rather than a product. In an era increasingly dominated by immediacy and spectacle, these vessels offer an alternative pace—slow, precise, and grounded in tactile wisdom.

Zhao’s contribution to Unanchored Crafting aligns closely with the exhibition’s curatorial vision, which foregrounds cultural dislocation and material experimentation in craft. His works engage in this dialogue not through spectacle, but through subtlety—through care, labour, and unresolved questions.

Positioned between disciplines and categories, Zhao’s vessels resist easy definition. They are objects that question their own making, their own function, and their own boundaries. In doing so, they offer an alternative pace—inviting viewers to slow down, to feel, to reflect.

These are not declarative objects. They are quiet invitations: to hold time in the hand, to sense transformation through surface, and to imagine tradition not as a fixed reference, but as a material still capable of change.

New York City’s exhibitive tattoo scene is a melting pot of styles and talents, but few artists have embarked on a journey as unique or achieved recognition as rapidly as Sumok Kim. Originally a South Korean children’s book salesman, Kim transformed a burgeoning interest in drawing into a mastery of realist tattooing, now leaving a distinguished mark on clients and conventions alike from his NYC base.

Kim’s path into the world of ink began unexpectedly in 2015. Working at a publishing company, interactions with illustrators sparked a passion for art fundamentally different from his day job. Rather than pursuing traditional artistic education, Kim took a self-taught route, leveraging online resources and learning from fellow artists – a testament to his dedication and inherent talent. This foundation quickly evolved into a specialization in realist tattooing, particularly in striking black and grey.

What defines Kim’s work is his exceptional eye for detail, creating photorealistic pieces that possess a timeless quality. His early focus on the natural environment and animal portraits allowed him to hone his skills in rendering intricate textures and depth. While these remain integral, Kim is now exploring Eastern-themed subjects, weaving cultural narratives into his art. This evolution underscores his philosophy, as he shared in an interview: “I appreciate that there is no limit to improvement in tattooing; there is always something new to learn.”

Kim’s technical expertise and artistic scope have not gone unnoticed. He is a celebrated winner on the competitive tattoo convention circuit, recently dominating categories at the NY Empire State Tattoo Expo and the Vancouver Tattoo Show with multiple first and second-place awards for large realism and black and grey work, including “Best of Show” in Vancouver 2024. His standing is further cemented by accolades such as being named among the top 10 tattoo artists in New York City by Ink On Sky for 2025

Having worked globally in significant tattoo hubs like Toronto, Vancouver, and Seoul before settling in New York, Kim offers insights into cultural differences within the craft. He notes a distinction between a focus on aesthetic coolness in Korea and a greater emphasis on meaning and storytelling in the West – a perspective he seems to embrace as he delves into subject matter rich with symbolism, such as Eastern mythology and the powerful imagery of Samurai.

Now as an ambassador for Mast Tattoo Needles’ Pro Team and with a significant online following exceeding 60,000 on Instagram, Sumok Kim is not resting on his laurels. His plans for 2025 involve traveling across the US to attend more conventions, sharing his award-winning work and continuing in his relentless pursuit of artistic growth. From an unconventional start, Sumok Kim has undoubtedly become a key figure in the contemporary realist tattoo landscape, proving that passion, dedication, and a commitment to lifelong learning that can redefine the boundaries of art on skin.

From Wrocław to New York City, Polish-born designer Paulina Raczkowska has forged a remarkable global path, one deeply rooted in empathy, cultural awareness, and an unwavering commitment to social impact. Her journey, which began with a solid foundation in interior and stage design at the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland, continued with further studies in Valencia, Spain, is a testament to her dedication to both artistic excellence and profound human connection.

Following her formal education, Raczkowska relocated to Berlin, Germany, where she honed her creative direction and branding expertise through roles at prominent companies like Viacom, Rocket Internet, SinnerShrader (now Accenture), and Highsnobiety. She also collaborated with major brands such as Henkel, Signal Iduna, CoteetCiel, Beets & Roots, and Match Group. These formative experiences sharpened her visual language and honed her storytelling skills through the medium of design.

Her design philosophy is centered around people: “I design with people in mind, always asking: Who is this for? Whose story is being told? And how can design truly serve them?” she asks. “That level of empathy and intention is something I strive to bring into every project.”

It was her decision to live and work across the globe, in Mexico, Kenya, Brazil, South Africa, and the Dominican Republic, that truly transformed her perspective and redefined her approach to design. Immersed in vastly different cultures for nearly eight years, she witnessed the kaleidoscope of human experiences and the persistent inequalities that divide our world. 

This is what makes her stand out as a designer. “What makes my work unique is the fact that I’ve lived and worked in a wide range of places; from Wrocław to Berlin, from Nairobi to Santo Domingo, and now New York,” said Raczkowska. “Each of these places has shaped not only how I design, but why I design. This exposure to different cultures, aesthetics, and ways of thinking has given me a global design practice rooted in cultural fluency and social consciousness.”

Some major career highlights include working for global brands which require big picture thinking. “Early in my career, working with global brands like Viacom, Henkel, Signal Iduna, Match.com, and Highsnobiety taught me how to build clear, scalable design systems within large teams and commercial frameworks,” said Raczkowska. “It was a great training ground for creative leadership and understanding the business side of design.”

These experiences, which have spanned across five continents, have equipped her with the unique ability to design with context, compassion, and a truly global consciousness. Raczkowska’s work increasingly gravitated towards issues of women’s health, safety, and empowerment, a passion that solidified when she moved to New York City.

“Design is a visual language, and language, at its core, is a tool for connection,” said Raczkowska. “Thoughtful design can bridge cultures, reduce barriers, and create shared understanding. I’ve seen firsthand how design can give voice to marginalized stories, simplify complex ideas, and build spaces, physical or digital, that invite people in. In our globalized world, design that is well done and done with intention helps us communicate across differences with clarity and compassion.”

“My style also carries a multicultural lens, influenced by the textures, traditions, and visual languages I’ve encountered while living and working across the world,” said Raczkowska. “It’s a design approach that’s clean and useful, but still emotionally resonant and culturally aware.”

In New York City, Raczkowska found her niche at Ahoy Studios, a women-founded design agency specializing in branding and creative development for non-profit organizations and mission-driven enterprises. Ahoy’s work spans a wide range of global causes, including environmental protection, social justice, peace and security, gender equity, education, and cultural exchange. 

At Ahoy, Raczkowska discovered the ideal environment to seamlessly blend her global insights with purpose-driven design, contributing to campaigns and identities that support meaningful change on both local and international scales.

She emphasizes the impact of her current work: “The most meaningful highlight has been my work at Ahoy Studio in New York, where I design purpose-driven campaigns for nonprofits,” said Raczkowska. “The studio’s small size allows for more creative ownership and impact, and I find it far more rewarding to use design as a tool for change — supporting causes like gender equity, climate action, and community empowerment.”

Simultaneously, she began collaborating with Dames New York, a women’s fashion brand based in New York that focuses on mental health, safety, and empowerment. Through photography and creative direction, Raczkowska helped the brand cultivate a visual identity that empowers women to feel safe, beautiful, and strong while wearing Dames New York. 

The brand fosters a supportive community through events like meditation sessions and self-defense classes – reinforcing the powerful idea that design can be a vehicle for healing and empowerment. Remarkably, Raczkowska’s collaboration with Dames is built entirely on a volunteer-driven, skill-sharing model; a collective endeavor where creativity and knowledge are exchanged freely, without any financial transactions, fostering a deeply collaborative and purpose-led process.

Looking ahead, Raczkowska is planning to co-found a creative production studio with fashion designer Katlyn O’Malley and a collective of international creatives from cities like Warsaw, Berlin, and the Dominican Republic. This exciting initiative will focus on producing socially responsible content, spotlighting sustainability, women’s rights, and equity within the fashion and media industries. The collective aims to challenge industry norms by embedding respect, inclusivity, and ethical practices into every project.

With a career that spans continents and encompasses a multitude of worthy causes, Paulina Raczkowska continues to demonstrate that design can be a powerful tool for cultural dialogue, social transformation, and global solidarity. Her work is not only visually striking and aesthetically pleasing but also deeply informed by lived experience, guided by core human values, and driven by a clear and unwavering mission: to make the world a more beautiful, equitable, and safe place for everyone.

Raczkowska emphasizes the importance of understanding cultural nuances: “Over time, I’ve learned that what resonates visually in one part of the world might feel completely abstract or disconnected in another. A design approach that feels natural in a New York studio might not translate at all in Nairobi — and even between the U.S. and Europe, there are subtle but important differences. Being aware of those nuances helps me create work that is contextually grounded and respectful of its audience.”

She acknowledges the responsibility that comes with visual storytelling: “I’m also deeply aware of the responsibility that comes with visual storytelling. I actively work to avoid stereotypes, especially those embedded in Western perspectives, particularly when it comes to representing places like Africa. 

For example, too often, NGOs and media focus solely on narratives of poverty, overlooking the complexity, beauty, and pride within African cultures. “When we rely too heavily on standard visual frameworks, we risk flattening diverse experiences and seeing the world only through our own lens,” said Raczkowska. “My goal is to design in a way that resists that, to celebrate difference, challenge assumptions, and make space for authenticity.”

Raczkowska defines her design aesthetic with three different principles. “My aesthetic is defined by clarity, restraint, and purpose,” she said. “I approach design as a form of communication, not decoration, so I always prioritize function over form. Every element I use has a reason to be there. The result is a minimal, intuitive style where bold typography meets human-centered visuals, and where the message is never lost in the medium.”

She adds: “Even though my work is visually pared down, it’s rooted in narrative. There’s always a story underneath which is shaped by the audience, the context, and the message I want to convey.“

While Raczkowska started out in interior design and stage design, it clearly prepared her for a career in visual design. “Studying interior and stage design gave me an early understanding of how humans interact with space, light, and atmosphere; how the environment shapes emotion,” said Raczkowska. “Stage design taught me storytelling through physical form; interior design taught me functionality and flow. That background sharpened my spatial thinking and made me deeply attuned to the emotional side of design. It also gave me a natural foundation for branding and creative direction — where the goal is often to create an entire world or identity around an idea.”

Raczkowska’s unwavering dedication to socially responsible design serves as an inspiring example of how creativity, when coupled with empathy and a global perspective, can become a powerful force for positive change in the world. Her work not only connects people but also empowers them, amplifying voices and fostering a more inclusive and equitable future for all.