Erika Cox
Organic audio systems.
What’s your background? Did you study graphic design?
I studied printmaking, but I’m more interested in writing poetry, performing, making music, and creating videos. So, I wouldn’t say I’m formally educated as a designer.
Would you consider yourself more of an artist than a designer?
Yes, definitely. I’m closer to being an artist. Sometimes I make things that touch on design, but it’s mostly artistic.
How did your interest in sound and objects start?
About two years ago, I started working with sound installations. It wasn’t just me—I collaborated with two friends who are also artists. They’re better at the technical audio and structural aspects, while I focus on the object itself. Together, we create sound, design, and film working under the name Evening Audio.
I think the first piece I saw about your work was at Post Archive Faction in Seoul.
Yes, that was our first installation.
How did that project come about? Was there a specific intention for an audio system in the store?
Actually, the store interior was nearly finished, but there was this empty space. The owner, who’s my friend, remembered that I’d mentioned wanting to make an audio system. He asked if I could create something for the space in just three weeks.
Three weeks? That’s a tight timeline!
It was. I designed the piece in one day, and he loved it. The rest was just putting it together.
The design is very striking—almost organic, like a spine. Where did that come from?
I believe in letting forms emerge naturally rather than overthinking. I’ve trained myself to trust the process. The piece was inspired by the minimal and monolithic space of the store, and I wanted to create contrast with something organic and intricate.
The video you did about your collaboration with Post Archive Faction "Let's Create a Speaker!"—it has such a cool, skateboarding vibe.
Thank you! I actually used to be a professional skater. I wanted to document the process because many people here see my work as purely artistic. The video helps communicate the design side of what I do.
How do you approach the balance between the engineering and the aesthetics?
Audio design is tricky because it’s very technical. The engineering defines a lot of the structure, but I try to add my own voice through the visual aspects, like the organic back structure of the speaker. That’s where I feel I can contribute something different.
Is the process more about assembling new pieces or repurposing old ones?
It’s a mix. It depends on the sound we want to achieve. Sometimes we use new components, and other times we incorporate vintage parts. It’s all about finding the right balance.
Where do you see your practice going? Are you aiming to create a brand or stay more experimental?
We’d love to build a brand and create accessible audio systems, but it’s challenging. The market here in Korea is tough—good audio systems are expensive and mostly imported.
I’ve noticed in Seoul, many artists blur the line between commercial and artistic work. Does that resonate with your practice?
Yes, very much. There’s a strong connection between the two here. Commercial spaces often provide the only opportunity to show our work. It’s a necessity but also a chance to create something meaningful.
How did it feel to see your work in that context?
It's exciting. Per instance, one project evolved from a personal collaboration with a friend into something that traveled to Paris Fashion Week. That journey felt surreal.
How would you describe the creative culture in Seoul right now?
It’s vibrant and collaborative. Many young brands are doing exciting work, often blending art, design, and commerce. We don’t have a deep tradition of design here, so everything feels fresh and experimental.
That’s what I’ve noticed too—there’s a strong sense of community and mutual support.
Absolutely. Many of us work with friends and share similar values and visions. It makes collaboration feel natural and rewarding.
Your work has such a unique aesthetic. Is it inspired by your background in printmaking?
Definitely. My approach is very image-based, and I think that comes from my printmaking roots.
The organic, spine-like structures in your installations—are they inspired by nature or the body?
Both. I’m fascinated by how objects can balance energy and function. The forms I create are meant to support the weight and vibration of sound while also feeling alive and dynamic.
Would you call your work more functional design or art?
It’s both. The speaker, for example, is functional, but it’s also a strong sculptural gesture.
That duality is what makes it so impactful. It transforms a space while maintaining a clear function.
Exactly. I’m always interested in how small objects can shift the atmosphere of a space big time.
Photography and interview by Sebastian Vargas / Additional images by Erika Cox and Evening Audio
