Ghosts, goblins and demi-gods are at the heart of Woo Jin Joo’s creative world. Born in Seoul, Woo Jin grew up mesmerised by her grandmother’s stories, and traditional Korean myths and folktales.
Now an award-winning mixed media artist based in London, Woo Jin’s soft sculptures and embroideries delve into the significance of traditional folk stories in today’s culture – with more than a playful twist.
In her hands, an Ikea bag conceals a wild tiger; an odd sock becomes a Korean Dokkaebi or goblin.
Just as importantly as the stories she conjures, her work evokes a sense of enchantment and magic in ordinary things. Found objects and random textiles, she says, are vital sources of inspiration for unleashing her imagination.
If you’ve ever wondered how your past can become part of your art, then read on.
Woo Jin Joo: My practice explores East Asian mythology and folk culture and how these ancient belief systems and storytelling manifest in contemporary culture.
I use mythical creatures, spirits, ghosts, animals and demi-gods to explore our connection with objects and non-humans. I am searching for stories about objects with spirits. I conjure tales of multispecies entanglement and collaboration where human beings are not centre stage.
My work is magical, playful and colourful. It touches on big themes like multispecies, spirits, environment and heritage, yet it’s joyous and accessible through its character and colour.
Take my artwork People Who Deny the Existence of Dragons Are Often Eaten by Dragons From Within. It’s one of a series inspired by the book Arts of Living on a Damaged Planted: Ghosts and Monsters of the Anthropocene. Here I’m exploring ideas of ghosts, monsters and other mythological creatures as agents of the damage we cause to our planet.
Sometimes, my artwork may seem like it’s caught between the physical and the imaginary world – awkward yet appealing, enchanting yet funny.
“I am trying to evoke and explore a sense of enchantment and magic in ordinary things.”
Woo Jin Joo, Mixed media artist
Korean folklore
I am fascinated by the mythology and folk culture of Korea and how these ancient stories effortlessly weave human and non-human elements in magical ways.
Korean folk paintings inspire me in more ways than one. The concepts and stories from traditional folklore and mythology inform my sculptural pieces.
For example, Dokkaebis (도깨비) are creatures from Korean mythology and folklore. Also known as ‘Korean goblins’, these creatures are formed from a spiritual possession of an inanimate object. This series of works is an exploration of ways of re-enchanting the way we perceive and value inanimate objects.
My two-dimensional pieces are more visually inspired by Korean folk paintings, particularly in terms of motifs and colours. And the way colours are arranged or selected, or the depiction of natural elements like clouds, water, waves and mountains are great sources of inspiration even when I am imagining my own mythical hybrid three-dimensional beings.
Although the techniques and materials I use differ from traditional Korean embroidery, these visual inspirations and my interpretation are another way of celebrating and embracing my cultural heritage.
Making sense
I’m looking for the relevance and significance of traditional folk stories in today’s culture. Creating my own stories is a way of making sense of the world, connecting the tales heard and internalised through my cultural upbringing with the physicality of objects and space around me in day-to-day life.
In the series titled 水神 Water Deities, which includes A Saviour and And Can You Keep the Still Waters Deep and Clear? and The Urchin Man, unexpected species are raised to the status of deities, mutated with human body-like limbs and odd forms.
Increasingly, we are finding scientific evidence that reveals the roles of overlooked species, microorganisms and microecology in maintaining the balance of the earth’s environment. Situating these sea creatures on a mythological pedestal as deities, the series suggests a new story that deems the significance of these critters in an enchanting and engaging way.
Bridging the textile gap
One of the questions I’m exploring is our relationship with textiles. With the advent of mass production, textiles have been transformed from a valued and repairable object to 300,000 tonnes of used clothing going to landfill every year (in the UK alone).
Textiles are integral to everyday life yet we’ve become disconnected from their value, importance and capabilities. How can we bridge this chasm that’s arisen? What does this relationship reveal about us as a species? These are questions I am exploring.
虎死留皮，人死留名。(When a Tiger Dies, It Leaves Behind Its Skin. When a Man Dies, He Leaves Behind His Name), embroidered on an old IKEA bag, is from this series.
“I want to create ways of bridging the gap between us and objects, by creating playful sculptures out of discarded or old textiles.”
Woo Jin Joo, Mixed media artist
Finding stories
I love working with old and found objects. These might be hats or gloves I’ve found on walks or clothes donated by people close to me or during workshops. I like to view these items through the lens of mythology and folk culture, imagining new stories about them.
Every object brings its own history. They add another layer of narrative to the work. Also, I find that the objects themselves are often an endearing entry point for the audience.
“Restricting myself to using found objects is creatively stimulating as the limitation provides a structure to work within.”
Woo Jin Joo, Mixed media artist
Nurturing the flame
My starting point for my sculptural pieces is found and old materials. It always starts with an initial spark of an idea.
I then develop and work through it by drawing. Drawing is the foundation of my practice. It helps to bring my ideas to life. It’s less time-consuming to work up ideas through drawing than stitching.
“The idea usually comes from the object that I am working with – its shape, colours, feel and patterns.”
Woo Jin Joo, Mixed media artist
My imagination is quickly inspired just by looking, then I have to put in the work to bring the idea to life.
I start with planning the internal structure, building it with wires and cane rattan. Then I cover the structure in wadding or old scrap fabrics. Finally, I add embroidered textures, which I create on dissolvable embroidery backing fabric.
Freestanding embroidery
For my two-dimensional pieces, I’m painting with thread using freehand machine embroidery. It’s a much quicker process than creating a sculpture.
“I prefer to use Madeira’s viscose thread due to the vibrant colours and also its strength – essential when I’m stitching thick layers.”
Woo Jin Joo, Mixed media artist
I select colours instinctively. I like to work on dissolvable embroidery fabric as this creates an ‘embroidered tapestry’, with the stitches supporting themselves as a standalone piece.
Initially, I began working on dissolvable embroidery backing fabric for my sculptural pieces as a way of creating sculptural forms and textural details, and I’ve continued to use it in my two-dimensional work…
It’s mainly an artistic choice. I like the way I can create curved and unusual outlines with the edges of the embroidery. Also, I’m drawn to the fact that the threads support themselves, creating standalone embroidered works, free from a fabric’s surface.
To create freestanding embroidery in this way, it’s best to work with thicker dissolvable embroidery backings such as the non-woven variety rather than the film type. Layering the dissolvable embroidery backing, to make two or three layers, helps to stabilise the piece and enable it to support the dense, heavy stitching.
Working smarter
My biggest challenge is often time management and my expectations.
It’s difficult balancing deadlines and exhibition schedules with the amount of time and energy that I want to pour into a piece to get it to a place where I’m satisfied. Many of the works – especially the big ones – always take a lot longer than my initial estimate.
Sometimes it feels like no matter how much extra time I factor in, I’m still working right up to the deadline. I think it has to do with not making firm decisions as I go along, particularly regarding the details.
“I am practising making decisions quicker – and sticking to them.”
Woo Jin Joo, Mixed media artist
Inspiring folk
I loved selecting the different Korean folk paintings that form the basis of my Stitch Club workshop. It was exciting to go through all the resources I’ve collected, to choose a few for the members to take inspiration from.
It’s been fun imagining how people might respond and find joy in certain images – and what these precious images might offer them. Especially knowing that this might be the first time some members will have seen Korean traditional folk paintings.
Cultural roots
I was raised by my grandmother as both of my parents were working full time. She has been the biggest influence on my life, not just in my work but the way I perceive things. This informs the heart of my work.
My grandmother is a natural storyteller. I loved hearing the vivid stories of her childhood, the food she ate, her early school years, and even stories of her childhood during the war. My love of listening and finding stories came from her raising me.
I initially studied printed textile design as an undergraduate. However, towards the end of my degree, I began to shift from creating prints to creating objects with found beach plastics.
Wanting to explore this object-making further I decided to continue my postgraduate studies at the Royal College of Art in London.
It was during this time that I developed my current practice; my love of freehand machine embroidery and working with embroidery in sculptural ways.
Making as learning
I am grateful for the space the 62 Group and its members provide in stretching my comfort zone. This year’s exhibition was ‘Making as Learning’, inspired by and dedicated to the late artist and 62 Group member, Audrey Walker.
I loved responding to this theme. It encouraged me to let go of producing a perfectly executed exhibiting piece and instead, allowing the work to guide me and then celebrating where it led.
“Being part of the 62 Group has helped me to expand and challenge my making and experimentation.”
Woo Jin Joo, Mixed media artist
Nurture & support
My studio is based at Cockpit Arts, Deptford, London. I joined Cockpit Arts as the inaugural recipient of the Bagri Craft Award, funded by the Bagri Foundation. The Bagri Craft Award is for a maker with Asian heritage, or from the Asian diasporas.
The generous funding I’ve received from the award has been significant in developing my practice. The three-year award period means that I’m able to settle into the funded studio, providing the time and space to focus on my practice.
The business mentoring, open studio events and the nurturing community of Cockpit also provide invaluable support for an emerging artist like me. The award has come at a timely moment, allowing me to grow artistically and also to establish a sustainable financial foundation.
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