10 Questions with Jewan Goo
Jewan Goo (he/him, b. Seoul, South Korea) is a research-based photographer who focuses on reexamining and reconstructing the fading history of Korea during the Japanese colonial period. His work is deeply connected to contemporary issues within institutional archives and history education, which are often biased and subject to political control or censorship by governmental or educational authorities. Beginning with an exploration of existing archives, he delves into the political apparatus of that era. Through meticulous research, Goo challenges the entrenched power dynamics within traditional historical narratives by utilizing histories that have no photographic evidence left but do have written documents and are overlooked by authorities, creating photographic evidence that offers alternative perspectives and explanations. Goo holds a BFA in Photography from the School of the Art Institute of Chicago and an MFA from the University of Pennsylvania. He currently works in Philadelphia.
Jewan Goo - Portrait
INTERVIEW
Please introduce yourself to our readers. Who are you, and how did you develop into the artist you are today?
I am Jewan Goo, a research-based South Korean photographer currently based in Philadelphia, focusing on reconstructing and reexamining historical narratives, particularly from the Japanese colonial period in Korea. My work bridges gaps in traditional archives by transforming historical texts into dioramas and visual forms, shedding light on overlooked or erased histories. Through this practice, I aim to challenge conventional records and advocate for a more inclusive understanding of the past, amplifying the experiences of those left undocumented and encouraging reflection on the importance of confronting our history truthfully.
The Japanese Botanists Cataloging Korean Endemic Species at Koishikawa Botanical Garden 1, archival pigment print of a diorama photograph, 64x89.5 in, 2024 © Jewan Goo
What first sparked your interest in photography, and how did your background influence your decision to pursue this medium?
I never thought I would become an artist. Initially, I studied history, ecological anthropology, and cultural anthropology in the United States, driven by my deep appreciation for humanities knowledge. By chance, I took a photography history course, where I encountered contemporary photographers, particularly research-based artists like An My Le and Dawoud Bey. This experience shattered my preconceived notions about art. The opportunity to express my research through photography, grounded in humanities studies, expanded my understanding of art. I then pursued deeper connections between social and historical knowledge at the School of the Art Institute, where my interest in New Topographics photographers influenced my documentary photography methodology during my undergraduate studies.
Your work delves deeply into the historical context of Korea during the Japanese colonial period. What inspired you to focus on such a theme, and what resources helped you do so?
By the time I graduated from my undergraduate program, I had seriously contemplated what artists should be doing today. I reflected on their roles and the research I was pursuing. Upon my professor's recommendation, I encountered the book Potential History: Unlearning Imperialism by photography theorist Ariella Azoulay. She explains the historical narratives influenced by imperialism and the need for alternative histories that impact individuals and society. I was greatlyimpressed by her work, which articulates thoughts similar to mine through a different medium. While searching for other photography theorists related to imperialism, I suddenly realized that perhaps it is the task of research-based photographers to undertake what the state is not doing today. Since then, I delved into several essays by Allan Sekula, deeply exploring the power dynamics of archives today. Additionally, I began to reflect on the institutional neglect of teaching the history of imperialism and the problems of distorted historical education. This prompted me to apply for the MFA program at the University of Pennsylvania to further explore my interest in alternative historical narratives.
皇國臣民ノ誓詞 (Kōkoku shinmin no seishi), The Oath of Imperial Subjects 1937-1, archival pigment print of a diorama photograph, 60x75 in, 2024 © Jewan Goo
皇國臣民ノ誓詞 (Kōkoku shinmin no seishi), The Oath of Imperial Subjects 1937-2, archival pigment print of a diorama photograph, 60x84 in, 2024 © Jewan Goo
Could you describe your creative process, particularly how you translate textual and historical evidence into photographic representations?
Due to the abundance of unrecorded or lost photographic histories, I don't follow a strict sequence regarding what to work on; instead, I progress according to my interests at the moment. For instance, two years ago, I became fascinated with nomenclature, botany, and the history of botanical gardens. This curiosity led me to explore Korean naming conventions and gardens, prompting me to initiate work based on archival research. During my investigation, I focused on the International Code of Nomenclature for algae, fungi, and plants, analyzing its systemic issues and gaps. This research naturally expanded to whether similar historical events occurred in Korea. To gain a deeper understanding, I examined the contextual backdrop of the time—studying figures like city planners or the mayor of Tokyo and the prevailing democratic movements that characterized the era. As I consider the layout and style of furniture in the spaces I wish to create, as well as the topography, I synthesize this research-based knowledge into my models. My work aims not only to represent historical narratives visually but also to provoke discussions about how these histories are recorded and remembered.
Your work delves into the complexities of history, archives, and political power. How do you decide which historical narratives to focus on, and what drives your exploration of these particular themes?
As I mentioned earlier, I do not impose a specific order in my work. Establishing a hierarchy can imply a direct correlation with importance, but I view the sequence more as a reflection of my interests at that moment. The lack of a fixed order is intentional; I believe that what truly matters is not just why I create a particular photograph at a given time but the overarching reason behind my project from a macro perspective. While a photograph hanging on a wall serves as visual evidence of a specific space, understanding why this project is necessary and significant is crucial. My aim is to provoke thought about the broader historical narratives being explored and the implications of their representation. Each image becomes part of a larger conversation about potential history and the historical contexts that shape our understanding of the world. This perspective fosters a profound engagement with the material, transcending immediate visual appeal to address deeper questions about history, representation, and the power dynamics inherent in archival practices.
Aug 17, 1945 文化住宅 (bunka jyūtaku), Japanese-Western Eclectic Architecture 1, archival pigment print of a diorama photograph, 60x75 in, 2023 © Jewan Goo
What challenges do you encounter when reconstructing history through photography, especially when working with documents that lack visual evidence? How do you overcome these challenges?
Originally, I adopted a documentary approach, but the photography I am currently practicing differs somewhat from that. I found that the existing method of capturing my research topic through multiple photographs, which focuses on "capturing what is visible," often lacks sufficient visual information. To transcend the functional limitations of traditional photography, I have adopted the use of models. I believe that every element in a photograph should have a purpose. For example, why is a particular piece of furniture arranged in this way? Why does the flooring need to be a certain type? Why is the spatial arrangement configured in this manner? By meticulously considering each aspect, I can remove every variable and make informed decisions throughout the creative process. However, challenges do arise. For instance, when creating based on a specimen of a specific plant, I might encounter obstacles such as that specimen being lost due to war or it being an endemic species from North Korea, making online information scarce. Additionally, if the plant has gone extinct and only exists in a botanical garden in Japan, I often have to rely on a degree of speculation as an artist, informed by historical data.
The concept of historical erasure is central to your work. How do you balance the need to represent the past with the artistic side of a new photographic work?
My process begins with extensive research into historical narratives that are often marginalized or erased. I engage with archives, documents, and oral histories to uncover layers of meaning and context. Grounding my work in thorough historical research ensures that my representations are informed by the realities of the past. This aligns with the ideas of historians and artists, such as Saidiya Hartman, who emphasize the importance of context in representation, exploring the complexities of historical narratives and their implications. Once I establish the historical context, I make creative decisions about how to visually express my discoveries. I often incorporate symbolism, thoughtful composition, and abstraction to communicate deeper themes, fostering a dialogue between the past and present. For instance, by utilizing dioramas instead of direct photography, I can create a nuanced narrative that evokes the referenced history while engaging viewers on an intellectual level. I aim for my audience to reflect on the implications of these historical narratives, encouraging them to consider how the past shapes our understanding of the present.
Hanami 1912, Archival pigment print of a diorama photograph created from collages of colonial-era photographs, 64x85in, 2023 © Jewan Goo
The Changgyeongwon Palace Greenhouse 1909, Archival pigment print of a diorama photograph created from collages of colonial-era photographs, 64x85 in, 2023 © Jewan Goo
Your photographs are described as subaltern-focused archives that offer alternative perspectives. How do you hope your audience will engage with these works? What kind of impact do you hope to make on the perception of Korean history?
I express histories often overlooked by today's public education system through subaltern-focused archives. Rather than evoking purely emotional responses, I hope viewers will engage with my large photographs to explore useful or overlooked knowledge and information. The reasons for these historical omissions in public education are manifold, including the economic interests of various countries, political retaliation, and the agendas of ruling parties. I want the audience to confront the truths of history and reflect critically on the narratives they have been taught. By presenting alternative perspectives, I aim to challenge prevailing perceptions of Korean history, encouraging a deeper understanding of its complexities. My hope is that this engagement fosters dialogue about the significance of these narratives, ultimately leading to a more nuanced recognition of the past that can inform present and future discussions.
As someone deeply engaged in the historical reconstruction of Korean narratives, what future projects are you currently considering? Are there other periods or themes within Korean history that you are eager to explore?
My current interests lie entirely in historical narratives and alternative histories. I previously explored racial paradoxes and social stratification related to the East Asian diaspora in American society during my undergraduate studies. While the reconstruction of Korean narratives is currently my primary focus, I plan to revisit my earlier work in the future. I believe that narratively reconstructing history will be a lifelong challenge for me as an artist. This endeavor could take 20 years, 30 years, or even longer, as there are countless historical gaps to address. Although I'm uncertain when it will conclude, my next project will likely delve into racial paradoxes and social stratification concerning the East Asian diaspora in American society.
Nomenclature, archival pigment print of an installation, 64x89.5 in, 2022 © Jewan Goo
As you continue to challenge conventional historical narratives, what role do you envision your photography playing in the broader conversation about history, memory, and education?
As I continue to challenge conventional historical narratives, I envision my photography playing a vital role in the broader conversation about history and education. Photography serves as a powerful medium for examining the complexities of historical narratives, allowing viewers to engage with alternative perspectives that are often overlooked in traditional educational contexts. My work aims to foster critical discussions about how history is constructed and represented, encouraging audiences to question the narratives they have been taught. This aligns with the views of historians like Saidiya Hartman, who emphasize the importance of context and the nuances of historical representation. By integrating elements of abstraction and symbolism into my photographic practice, I create a dialogue between past and present that challenges dominant narratives and prompts reflection on their implications for our understanding of the present. Moreover, using photography as a form of historical inquiry can help bridge the gap between academia and public engagement. It encourages viewers to confront uncomfortable truths and fosters a sense of collective history that is accessible and relevant to contemporary audiences. In this way, my work seeks to contribute to a more inclusive understanding of history that acknowledges the voices and experiences of marginalized communities.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
