WIP magazine travels to Taiwan to visit 27-year-old jewelry designer Eric Wu, who launched his grillz studio Shiningmaker in 2021. Speaking to writer Lig Lin, Wu discusses how skateboarding sparked his love of making grillz, learning through error, and why imperfection adds character.
Words: Lig Lin
Images: Sean Marc Lee
Grillz: for many, the mere mention conjures up an image of early-aughts southern hip hop, but Wu now finds himself at the forefront of a new wave of designers, who are reinventing the artform.
With his dog Max for company, Wu works out of a studio on the fourth floor of an old apartment building in Taipei's Songshan district, which once belonged to his grandfather. It is from this humble space that he seeks to put both himself and his city on the map, one set of pearly whites at a time.
Lig Lin: How did you become interested in grillz?
Eric Wu: It all started with skateboarding. After graduating from junior high, I enrolled at Daan Vocational High School. Part of the reason was my cousin, who exposed me to skateboarding, and who told me that if I wanted to skate, I needed to go to this school. At that time, I was studying automotive engineering, but cars held absolutely no appeal for me, they just weren't my thing. The skateboard club at Daan was a whole different story though, it was incredibly fascinating! I met a bunch of wild people who seemed to spend their days idling around, yet each one was bursting with creativity. Meeting them made me feel like this kind of lifestyle was truly unique.
I'm someone who loves exploring anything that catches my attention. Once I had my initiation into the skate scene my interest in grillz was sparked, not just by rappers' music videos, but by skateboarding videos too. In those clips, grillz would often appear out of the blue, and I would think, ‘Wow, that looks cool!’ I had no idea what it was, all I could think was, ‘Why does he have that thing on his teeth?’
LL: So, you didn't really understand what grillz were at that time?
EW: Exactly, and they were mysterious to me because I had no prior knowledge of them. It wasn't until I actually started making them that I began to delve into their historical background. In terms of how I started really practicing, after graduating from Daan Vocational High School, I went to Sheridan College in Canada to study Visual Merchandising Arts. Then, when a friend studying jewelry design mentioned wanting to create jewelry together, I said I’d rather make grillz instead.
LL: How did you figure out the production process?
EW: I learned by watching videos, searching online for information and to augment gaps in that knowledge, and experimenting through failures. In the beginning, I bought dental molds from local dentists (although I encountered resistance from many because they didn't quite understand what I was trying to do).
LL: Did your career in this field begin in Canada?
EW: Sort of. Often friends would come to get one fitted for fun, and sometimes I'd charge a fee. At the time, I was juggling part-time jobs while taking on these projects.
LL: What was it like when you returned to Taipei?
EW: I still wanted to pursue making grillz, but it required money. So I worked to save up enough to purchase the necessary tools and equipment. Later, I spent some time at Moon Face Dragon Temple, a tattoo studio that integrates illustration, graphic design, and other artistic creations. It taught me the importance of taking my work seriously and planning my path.
LL: Do you think grillz need better mainstream recognition as an art, like tattoos?
EW: I don't think so. Grillz are a trend; although it may have symbolized social status in the past, nowadays it's simply a trend. It doesn't require validation from the masses nor is it a trend that everyone must embrace. Those who are interested in grillz usually have their own unique perspectives, rather than simply buying something they see in a department store window.
LL: Are there any grill designers you admire?
EW: Gabby Elan comes to mind, although many of my peers dislike him because they consider him too commercial. However, I see him as a pioneer who has expanded the possibilities of grillz design, and I think he's incredibly talented.
LL: Aside from grillz, many of your metalworks seem to have a rugged, primal aesthetic. What’s the reason behind that?
EW: I love collecting odds and ends. You see that piece of paper on the wall with, ‘Be shit. Your own brand of shit.’ written on it? I found it at the lost and found in school in Canada, and even the frame was a find. The words reflect my ethos.
The things that I create often embody a delicate balance – they shouldn't appear too worn, yet I also avoid an overly polished look. A touch of imperfection adds character, and makes things more cool.
Back in Canada, I used to frequent places like thrift stores every week. These stores were filled with all sorts of donated items, ranging from clothing to household goods. With no specific purchase in mind, I simply enjoyed browsing through the various items. I always felt that happiness came from surprises, and not having a specific purpose actually allowed me to discover more.
LL: What’s on the horizon for Shiningmaker?
EW: To establish a company, refine the brand, and build a team. If stability allows, I hope to pass on my skills; there's no reason for hoarding knowledge.
LL: How would you describe your job title?
EW: Craftsman. "Look at me, I've made myself dirty just to make something shiny."
