JooYoung Choi’s Gallery will be donating to Ae Ran Won

Posted in Uncategorized on February 10, 2010 by jooyoungchoi

From now till the end of 2010, 10% of the profits from JooYoung Choi’s Gallery, will go towards donating baby clothes, vitamins and toys to the Single Mother Home in Korea.

If you are not familiar with this organization, I can tell you a little bit about them.

The single mothers of South Korea still, to this day, deal with discrimination and a lack of accountability from their Government. Sadly, the Korean government doesn’t have a functioning foster care system which makes it incredibly difficult for young single mothers to keep their children.

When I stayed in Korea this past Summer, I had the honor of meeting a group of these young ladies. They were amazing people, some as young as 16 or 17, out of the group, nine woman offered photos of their children to me, along with information about their son or daughter. Also, they included their favorite and least favorite colors and what wrote down what type of life they hope their infant will have.

Before I left Korea, in December, I completed nine portraits around the size of 16X20″ all of the paintings were delivered to Ae Ran Won, complete with the original sheets they had filled out with me about their dreams for their child’s future.

Since returning, I have found myself thinking often of the children and the mothers. The little boy whose nick name meant Star, the little baby who had the most amazing smile, the little girl who wore an adorable bunny hat and the mother and child who had both fallen asleep for the photo shoot (the photo was wonderful, mother and baby both asleep with their mouths open and completely at rest).

I have debated which organization to support and I realized that because of the expensive price of vitamins, sometimes three times the price of U.S. vitamins, I would like to send 10% of our profits to Ae Ran Won in the form of prenatal vitamins and some baby care items that are less expensive in the states, compared to Korea.

If you want to learn more about Ae Ran Won, you can check out their Korean website at: http://www.aeranwon.org, currently their English site is not available, but I will post a link once it is back up and running.

I hope you will learn more about this organization and support our efforts in sending healthy gifts to Ae Ran Won! Check out our TA-Art Page Today!

Sincerely,

JooYoung Choi

Will talk to people with dirty hands…

Posted in Uncategorized on February 3, 2010 by jooyoungchoi

“If you don’t even have time to wash the paint off your hands, then why should I make time for you?”

Recently, I heard someone say something similar to that, during a discussion about galleries, gallerists and what happens when we walk into galleries in our street clothes or don’t appear to be collectors.

We were even discussing whether people should dress up when they go to galleries, or if people should dress the way they normally do. The thing that amazed me, was this idea that, when I go to the comic book shop in Harvard Square I don’t have to think twice about whether I should put on make up and dress in a nice black dress just so then I can feel comfortable when I walk in.

I mean obviously I don’t want to walk into a comic book store naked, that could cause a number of various problems. But really, the audacity of this situation, the fact that a group of artists are trying to figure out if it is necessary to dress up to be treated respectfully while visited the many galleries on Newbury Street is kind of bizarre.

And in general, I mean, this idea that someone thinks that they don’t time for the “jerk-artist” who doesn’t even wash all the paint on their hands, is ridiculous! Would you refuse to shake hands with Basquiat? Or have lunch with Francis Bacon in his studio, because it was too messy? Would you not take Beethoven seriously as a musician just because he drew all over his walls and was known for his terrible living conditions and harassing his maids (throwing bedpans…).

Also, many folks who are right brained have been known to be notoriously more messy. Some of them may not even think of the paint on their hands as “dirty”, is a canvas that has paint on it “dirty”?

Furthermore, on the idea of not having time for those who don’t look clean got me thinking about the idea of class.

Many aspects of the art world have left a classist taste in my mouth, but when we as artists perpetuate this stuff, doesn’t it mean we’re just helping to keep it the way it is? Where artists struggle and collectors control who will financially thrive as artists and which artists will have to continue to divide their time between a part time job and their work in the studio?

This where I keep pondering the idea that there must be alternatives. You may have noticed my site has been offering paintings for new affordable prices. Some folks have advised me to sell them for more, but really, what’s the point? What is the point of art if it can’t be shared? It’s like baking cakes and then watching 9 of them mold and one of them get eaten.

Further more, lately I have been thinking of the idea of the stereotypical gallery, the stuffy, sterile, silent type. I am not saying all galleries are like this, but many I have visited have been like this. Especially if I am not dressed like someone who isn’t a collector. You know, there is something about this whole traditional gallery system that makes me ponder what else is out there, and what new could be created.

It just seems like many artists create work in a certain environment, coffee cups, magazines, flyers all over the place, punk rock music and photos of friends on the walls. Who knows, some of my colleagues have crazy masks, animals and people faces, pornography, bizarre collages and weird photos all over the place. For myself I have enjoyed over the years I have gone through phases of cluttering my studio with godzilla toys and watching cartoons (classic bugs bunny to bad 80s films) good books and great music in the studio while working.

When I go to a gallery, sometimes, I enjoy the clean feeling I get when I walk in, nice hard wood floors and clean walls, well ordered and I don’t have to watch where I step. But some aspects of the ambiance I wonder about. It is kind of like if you take a wild animal and put it in the zoo. Or a killer whale in seaworld, no matter how happy they act, that fin on their head is bound to flop downwards, did any one else watch that movie Free Willy…

Anyways, I don’t want my paintings to be impotent. I want them to be filled with vitality, and I think the model average gallery I have seen in Boston needs to change, sometimes I come across friendly folks, but it seems that when I am dressed up, not in painting close, make up on and hair in place that people are more apt to smile when I walk in and acknowledge me when I leave.

I know folks are busy, that gallerists have a lot on their plate, but isn’t it just a tad bit oppressive to drop what your doing when someone who is wearing designer shoes and has a 90 dollar hair cut walks through the door but give a look of “who let you in here” when you see an artist, possibly with dried paint on her fingers and a pair of old sneakers walk into your gallery?

Someone said that if you don’t have time to wash your hands, why would anyone have time to talk to you?

And you know what? I got time for lots of people. I got time for folks who have never even seen a faucet, I got time for folks who knew what faucets were and not can’t even find some where to live where they have their own sink.

Give me a break.

I’m not saying all artists have to be liberal in their thinking or even leftist, but to just continue the status quo of having it be the poor artist who puts on a facade (until she makes it) and the rich or well to do collectors, just seems ummm. perpetuating a classist and oppressive machine that keeps some folks feeling like art is only for the rich.

I’m not saying that I’ll never sell painting for $40,000 but what I wouldn’t blink twice to change the price to $300 for a college student on their way towards becoming a professional if it meant the world to them.

The richness comes when your art is useful for others… because that is when it is truly valued and regardless of whether your work is sold at auction at twice below what it was once worth, the people who hold your work will love it, because they truly loved it in the first place. And, it will never lose it’s true value…

Comments and ideas and solutions are welcomed! And if you have paint on your hands, don’t worry I won’t judge you, if you don’t mind the gesso in my cuticles…

The Greatest Fear is to Shine as Brightly as We have been Made to Shine…

Posted in Uncategorized on February 2, 2010 by jooyoungchoi

Hi folks! So the second part of jack of all trades will appear next week, I still have some more thinking and research to do about the subject, but instead I have for you another interesting tidbit of writing to share with you…

Recently I was checking out this great blog by Joanne Mattera, she posed the following question to her readers:

What advice would you offer an art student who’s about to make the leap?
.
In response to her article, this is what I wrote:

I would say, that it shouldn’t ever be an astonishing leap.

As an artist we begin as children crawling through the jungle of imagery, of ideas, of mediums and materials. We walk through forests and swim through oceans of community, growth, critiques, self-exploration, etc.

Instead of leaping into the art world, why not think of the process as steps. Steps that will walk you slowly, steadily and thoughtfully to a destination.

Start with small shows, talking with artists who are making 50 to 100% of their income off their passion. Develop a website, sell a few pieces, talk with colleagues about the struggles and interesting aspects of selling your own work and even doing commissions.

Just because you are in art school doesn’t mean you shouldn’t have already started to live your life as an artist, if anything it is the perfect time to.

For myself, I decided to study art at the age of 20, after a year or two of part time community college I found myself studying full time at Massachusetts College of Art. Before I arrived at Massart I had put together my first solo show and had participated in a number of group shows.

Later on, my art work was featured in the Boston Globe Side Kick and a smiling goofy photo of myself in the Somerville Times.

When the letter came in the mail that I had received a grant from the City of Somerville to complete a series of paintings about my adoption experience I couldn’t believe it! And all of this has happen before my graduation.

Leaping, in my own opinion is not the wisest idea. Walking, contemplating, and living as an artist is the healthiest way to do it. Educate yourself and never feel that something magical is going to happen to you when you graduate. You are magical right now.

Although I am not christian, I attended a Christmas Evening Service a few years back and the quote that always stuck with me was this: The greatest fear we have, is to shine as brightly as God has made us to.

Whether it be god, your passions, the tao, allah, etc, I truly believe that we don’t wake up just one day and take the “leap”, it takes time, it takes steps.

Don’t just jump in a pool of water and think you’ll figure out how to swim, take your time and find the support and mentoriship you need to not drown or develop some irrational fear of water.

Recently, I overheard someone mention, how do I know if I am ready? If she meant, to “leap” to take the risk, to submit to galleries, etc. It’s only a leap if there is nothing underneath you to catch you.

Have a community, have friends you trust who make art you believe in, educate yourself and know that you aren’t leaping, you are walking forward with the support of your own experiences, the people who have helped you grow and the belief that you needn’t fear how brightly you were made to shine.

What so wrong with being a jack of all trades? A master of none? Or just more difficult to market…

Posted in Uncategorized on February 1, 2010 by jooyoungchoi

Over and over I have heard people talk about this idea that an artist must conform themselves to one particular style. Bouncing from style, medium and even artistic study is frowned upon and shows a lack of discipline and maturity. Also, some people have told me that it is impossible to “master” one type of craft or skill without complete and total concentration on your specific practice. You are most likely to become a “master” of none.

Yeah, sheesh! I know exactly what they’re talking about! I mean really! That guy da Vinci didn’t have a clue that multiple talents was just a waste of his time! Think about how much of a better painter he would be if hadn’t wasted all that time, writing backwards in his journals and trying to be an “inventor”. Who knows what he could’ve been if he wasn’t so easily distracted!

Okay, Okay, enough with the sarcasm. But really. I was thinking about my experience in Korea, I studied for a semester at Korea National University of the Arts. Living and working with folks over there really opened my mind to the possibilities that the concepts, practice and understanding of how to make, look and talk about art was “general knowledge”.

At KNUA, I noticed that folks were encouraged to study an array of styles, from traditional Korean ink painting to abstract art. It was not un-natural for artists to create videos, make sculptures, design installations and play with sound art all in the same year or even in one exhibition. These students were able to explore and better understand their fascinations, obsessions and inspiration for future work.

In the Summer before classes had started the new 50,000₩ bill was printed, on it was a picture of a woman. Her name was Shin Saimdang, she was a famous writer, artist and calligrapher from the Joseon Dynasty. Further more, I noticed that many of the historical figures of Korea rarely held one title, many had a number of skills.

I understand that in the art world as of now, the idea of sending in your portfolio to a gallery with images of four paintings, two ink drawings, some clothes you crocheted, and a sound art recording seems foolish. But why is that? Some people say it’s because people must be focused in their practice but I can’t help but think that this has much more to do with sales than someone caring about your development and growth as an artist. Selling the work of a predictable artist is far easier for dealers to market and allows collectors a sense of security when purchasing your work as a way to diversify their portfolio.

Dangerous artists who switch from one form of media or style to another can cause problems. What if an artist makes beautiful abstract paintings and then in the next show does ink drawings of naked old men in awkward poses with live stock. If your collectors were only putting “pretty” abstract work in their houses, they probably wouldn’t be buying anything from your naked farm men series. And if in the end your second series doesn’t sell, the first series will lose value. Your dealer might be upset, but not nearly as annoyed as the collector.

Artists who are honest with the fact that they are complex beings that are searching for new ways to express their thoughts, ideas and observations on the world are seen by many as a problem. Strangely, we love artists for the romantic notion of them being wildly passionate and free as the birds in the sky. But in truth, what has made many artists big is just the opposite.

It is far easier and “safe” if you just spend your life making one thing! Let’s just paint horses for twenty years, and then when we’re economically free we can do something else. It is much safer is you just continue to make abstract line drawings and don’t change your style or just dance around and splatter paint on canvases but BE CONSISTENT!

Or don’t.
Get free.

Do what you want and help shift the idea of art making.

Can you imagine what the art world and exhibitions would look like with there was a more playful and free-flowing rebirth of fine art. Where people cannot agree whether it is a painting, an installation, an interactive theatre or a sculpture.

I know one thing it would be more fun.

To be continued tomorrow…

If it gets you hot do it. You know what’s cliché? Saying things are cliché.

Posted in Uncategorized on January 27, 2010 by jooyoungchoi

Lately, I have thought a lot about critiques, how they help and how they hurt artists. Surely, they can do both but many times I have noticed that people need as much practice in the act of critiquing as they do painting.

Honestly, at times I feel like some folks, including myself, don’t think enough before they talk.

Just repeating things they’ve heard from someone else. Which honestly is just like regurgitating something you heard someone else spit out. I feel it’s best to always think about the context of each artist’s work instead of creating rules and then putting them against each individual artist’s work.

Common things I hear are:

You should need to use black lines when you’re painting, and if you do then you’re an illustrator.

I find this to be one of the dumbest things I have ever heard. If black lines define whether someone is a painter or a cartoonist then that throws a large amount of Asian ink and brush paintings and wood block work into that category. Along with many non-European artists who have a great respect for the use of dark lines. Why is it that through these definitions of what is fine art, we deem work that follows European sensibilities as paintings and that which follows other cultures art styles as illustrations, cartoons or non-fine art. furthermore, we should look at what illustration really is, from what I know one of the large dividers is the idea that illustration is a form of design used to work side by side with products, stories and are usually found in books, magazines, websites, etc. What does black lines have to do with any of this? Moreover, if you don’t like black lines, instead of saying what teachers have told you, things such as: your use of color, shading and shapes should be strong enough to stand alone without a black line. Realize why you don’t like black lines. Not why someone else told you not to like them. And even if they aren’t working for you, they make work for others such as: Egon Schiele, Alphonse Mucca, Hiroshige and many other wonderful artists all over the world.

Using this style, color, character, tool is SO cliché.

What is so wrong with making things that are cliché? If you like making work that resembles Thomas Kincaid, than Kincaid away! If making paintings of cute animals hanging from trees get’s you hot, do it. The ability to know what makes you tick is a powerful and important thing and when people try to tell you otherwise, see it as a gift, well at first. When you start to feel your own resistance to other’s advice you might start to understand the things you love about your work. Surely, sometimes we put things in our paintings because we’ve been told that they are acceptable, innovative or cool. But is it not the same as teen age kids making doodles of their favorite band’s logo or little children painting pokemon into their family portrait project? What’s so wrong? The thing that is wrong, is when we start punishing ourselves for feeling, when we stop living our lives and focus on making sure that everyone is understanding what we’re doing. If you feel you have integrity within your work than fly with it.

Of course I feel it is important to “check” ourselves as artists. For myself, cultural appropriation has always kind of it a sore spot for me. The link between racist, bigoted imagery and the ability to freely express yourself is a sticky and difficult place for many artists. But I think that it is important to follow your own heart. Over the years I have enjoyed using the asian female portrait and figure for many of my works, as time has passed I have asked myself often if I use “her” because I am eroticizing or objectifying her, and others may feel that I do, but for myself, I enjoy the shape and form of rendering Asian faces. It has nothing to do with some outwardly oppressive idea of wanting folks to see asian women as exotic. Just because others may tell you your work is too black, not asian enough, not white enough, too feminist. I think that it’s all too stupid.

And even if years later you realize that what you were doing was really honest to how you truly feel, what is the biggest consequence of making those works? Not much. It’s not like the critique police are going to invade your house and throw a gouache smothered cat on your bed. You’ll just grow and you’ll even have artifacts to mark the history of that growth.

Whenever I hear people say things like: “that work is “too” punk or “too” goth or “too” traditional or whatever or “too” shock value” usually all I can think is, maybe it’s “too” whatever for you, but for reals if it works for them, it’s fine. This really isn’t about you, it’s about them. And if a critic is already saying your work is “too” whatever, they may not be looking or listening or trying to take the piece in.

It’s easier for folks to say they don’t like something or reject it instead of taking 5 minutes to try to feel it or even accept. Accept it’s existence as it is. In many ways our paintings can be a reflection or aspect of ourselves, and the people who dismiss work without a thought I feel are like the same kids in high school who were dumb and terrible and just said things like: she’s “too” fat, his clothes are “too” old or ratty, he’s “too” ugly, she “too smart”, he’s “too” enthusiastic.

Oh, come off it. And even, if it is extreme in one way or another, it’s “too” whatever, what is so wrong with that? There is nothing wrong with a little decadence, a little extremeness, a loud noise, a blaring feeling…

Something is truly cliché when it is someone telling you that your work is wrong or bad for being cliché. There is nothing wrong with making cliché work, but there is definitely something wrong with people telling you change your style because it’s not unique enough.

All art must have a purpose or reason.

This should be self-explainable. Sometimes things just happen. Even art. Raccoons like to dip strawberries in water and hold them up to the sunlight, not to help with digestion or for some kind motor skill preparedness, no, they just do it because they like how shiny it is. Coming to acceptance with our humanity, understanding that we like shiny objects, such as diamonds, hell we kill people, chop off their arms to get them, is one of the main things about appreciating some works of art.

I believe that not all things are meaningful. If nothing was meaningless than how would we ever understand what meaningfulness meant in the first place.

Other things that I feel are not helpful:

People who make insulting comments in the form of questions.
This is not only confusing but not very constructive. This isn’t laser tag, this is a crit. It’s not like you get points for attacking people and win a prize. The prize is won when a community comes together through a critique and help the artist understand what they feel are the strong and weak points of a work. When the artist is able to get feedback on how to solve certain problems or challenges within their practice as a painter. No, there are no special points for being snide, rude or evil.

People who just saying outrageous things like: this is shit, or this is terrible, or I don’t know why anyone would ever make something like this.

Umm. That doesn’t really help anyone, and even the person who said it, who might be able to boost their ego for a moment, really doesn’t benefit from saying comments like this. My grandfather always told me a story about one of this workers and how when ever the machine wasn’t working he would cuss up a storm and when my Papa would ask him what was wrong with the machine he couldn’t understand because the man swore so much you could hear the words about the actual machine between all the exclamations. He explained to me that wise people, stop, think and comment in a way that is constructive, only idiots sit around complaining and saying unhelpful things.

And I believe it, it’s much easier to yell at a kid who spills milk on the floor than it is to help the child learn how to use both hands to pour the jug. The same with a painting, if you know a different way that paint could be applied, or how the composition could be improved, add suggestions, ask questions to better understand the motivations of the artist’s work, but just telling them that the work should’ve never been made is the laziest thing I’ve ever heard.

Selling work for unaffordable prices is like only letting wealthy people listen to Albert Ayler…

Posted in Art Updates... with tags , , , , , , on January 27, 2010 by jooyoungchoi

Work in Progress

Octopuses and Field Mice


Above is an unfinished work that is in my studio in Boston.

So what can I say? I am back in the states, continuing my projects and studies. I successfully was able to transport almost all my work back to Boston which was a relief.

I am again living Jamaica Plain. Currently, I am working on new ideas for paintings and completing works I began in Seoul.

You may have noticed that the website www.jooyoungchoi.org looks different. Through the help of my business partner/superawesome-boo Tom Schorel, the site has had some really wonderful updates.

You may start to notice more updates on the blog and new work being posted each week. Also, if you check out the gallery you can actually buy pieces via the net.

Today I wanted to talk a little about why I do sliding scale and how that works for me.

You may notice the prices on the gallery are a little steep for some of your wallets and for others it could just be a drop in the bucket. I have always told my friends that if they liked a work but couldn’t afford it, I can make adjustments, I would rather my work finds a good home verses making more and not knowing where my “child” will end up.

So if you noticed something on the site, just email Tom and I at jooyoungchoi.art@gmail.com

We will swiftly and happily reply to your email.

Moreover, this brings me to the fact that people often say to me: JooYoung why don’t you just sell your work for more and make less paintings? Why do you make adjustments for people? You need to be “tougher”.

Let’s face it, many aspects of the art world are completely the opposite of what qualities I hold as ideal. The classist nature of the beast is probably the thing that bothers me the most. While talking to a friend, I mentioned, selling work on a sliding scale allows my work to reach people who truly want the paintings. What’s the point of making work if only a small group of people ever get to enjoy it? Doesn’t everyone deserve to enjoy luxurious things? It would be as if only people in a certain income bracket could read fine poetry or only the wealthy could watch the best bollywood films or only people with an extra 10 grand lying around could listen to Albert Ayler. That’s just plain stupid. I think it was at a Bread and Puppet show or a similar creative activist/artist organization performance that I saw a sign that said “Art for Everyone”. And I think that is a damned good idea.

I will continue to think of ways to keep my work accessible to all folks who truly enjoy it. Within the coming weeks I will begin making TA-Arts again, you may know about these from the All Asia Show covered in the Boston Globe a few years back.

TA-Arts stands for Tiny Affordable Art. Ranging in price from 10 to 30 dollars each.

Also, I am interested in doing art trades with artists who would like to exchange work and also, if you email me a suggestion that is later used as inspiration for a future work, you will be contacted to receive a gift-painting.

I’ll say that again (: If you or your friends have ideas for me, suggestions of what you would like to see me make next, etc. If your ideas are chosen within a week or two a painting will be arriving at your door.

I hope that folks will keep up with blog and take part in the new energy on the site.

Sincerely,

JooYoung Choi

Long over due. A new artist statement…

Posted in Uncategorized on November 24, 2009 by jooyoungchoi
Panel one of the Series of Three

First piece posted on this site from KNUA Studio

I am for an art that feeds off the tension and resolve between chaos and order.

I am for an art of disorientation, of ever evolving bodies, of sensual flora and devious shadows.

I am for an art that believes in wonder-worlds, bizarre tea drinking ceremonies and time travel.

I am for an art that resembles constellations; holding the origins of beasts, deities and drama.

I am for an art that embraces the luscious color of Disney films, the choreography of classic Looney Tune cartoons and the luscious colors of classic American comic books.

I am for an art that honors all precious play things that were once a child’s heart felt companion.

I am for an art that is made of wooden bones, canvas skin and veins pulsing with Napthol Red Deep paint.

I am for an art that eats dinner with the past and future, an art that is not afraid to talk/argue about religion, politics or cuss in front of her guests.

I am for an art that drops nets in the stream of consciousness, an art that understands the deep importance of useless and meaningless things.

I am for an art that has woken up hung over in the beds of Rumi, Lao-Tzu and Osho.

I am for an art of 1980s Saturday morning cartoons, radio tapes of Abbot and Costello and Christmas eve viewings of “It’s Wonderful Life”.

I am for an art that embraces punk rock, puppetry, pop-up books, action figures, make believe, aliens, broken robots, the Hundred Acre Woods, Norman Rockwell, hybrid animals, and sanctuaries for missing children.

I am for an art that documents transformation. That knows both the melancholic ugly duckling and the compassionate swan.

I am for an art that occasionally commits an emotional “vomit” and is not ashamed for doing so.

I am for an art that also makes use of charts, graphs and research journals.

I am for an art that calls out like conjoined twins reaching for words and faces in the dark.

I am an art that doesn’t enjoy the taste of white superiority, gender conformity, able-ist opression, classist systems or male chauvinism.

I am for an art that tells stories through simple figures and the emotions buried within the joints of our bodies.

I am for an art that makes use of the most succulent hues, an art that makes use of the same color schemes that lure children to chocolate bars and un-nutritional, sugar ridden breakfast cereals.

I am for an art of illustrative anatomy and children book nostalgia.

I am for an art of layers. I am for an art that honors both the well rendered and the beauty of a simple black line.

I am for the art that brings forth a love for portraiture.

I am for that looks closely at the underdogs, the moments of fear, the memories of one’s cat-in-a-metal-box-desperation, of bullies and of endless mazes filled with child eaters.

I am for an art of flight.

I am for an art that knows that is only when the night is most tenebrous that one can most clearly see the stories of the stars

Korea, an amazing place…

Posted in Uncategorized on May 31, 2009 by jooyoungchoi
Carerpillar

Began this work while studying at Korea National University of the Arts

Hello friends.

I arrived in Korea safely, on the 26th. Things have been quite amazing. I stayed with my birthfamily before joining my pals at Ko-Root, this is the first year I stayed first with them and then came to the guest house.

I spent time catching up and seeing family. I gave my family gifts which is customary upon first meeting up. I got my Appa a track suit, which he decided to wear all day and then fell asleep in. He wore the top part of the suit for two days and yesterday wore the button down shirt I have him, even though it was far too hot for a long sleeve in the Korean summer weather. Sooji is growing up, but still has maintained her child-like ways. She is so adorable, although sometimes she get’s goofy and annoys my step mother. As for my step-mother her english continues to improve and we had a good time. She fed me delicious food and has been the coordinator between my birth family and me. I am grateful for all her help. I am now at Ko-Root and beginning to plan my art work, I have a goal of three paintings for Ko-Root and one painting for my birthfamily. My Appa asked me to make a pretty painting for the house. He was recovered quite well from his stroke. I gave him vitamins and fish oil to improve his physical and cognitive health.

Pastor Kim and his wife are doing well. I have missed them both. I hope someday my family can meet them. And when I say family, I mean my family in America.

Today, I want to sleep a while and then go to hong-dae to visit GOA’L the global over seas adoptee link. I am trying to find a cellphone for my trip so people can reach me and also, I need to visit the art stores to purchase canvas and stretcher bars.

Things are going quite well. I forgot how much I missed Korean instant coffee.

If anyone has questions about how I came to find my birth family or how to plan a visit to Korea, please let me know.

I have debated about changing this blog into a personal memoir, especially because of the conflict between professional and personal blogs. But I have realized that my work is a fusion of emotions, memoirs and dedication to the craft of painting, much like my blog should be… both a professional dialogue that embraces my life and all the emotions that it contains.

Journey

Posted in Uncategorized on May 22, 2009 by jooyoungchoi

I worked on this painting tonight. I think it will be adopted tomorrow. Monday is right around the bend, and yes, I am still trying to pack.

Third Stage

Leaving the Country

Posted in Uncategorized with tags , , , , , , , , on May 15, 2009 by jooyoungchoi
2. Choi and the Trout Detail

Leaving the country...

Hello all,

This blog is about to become a little more personal.

I will be leaving for Korea on May 25th. This has been a long and difficult journey, but I believe that I can be quite helpful to others if I spend sometime in Seoul.

During my stay I will be working with birth mothers at AeRanWon, they are deciding whether they want to raise their children. From what I know all of the mothers that stay there want to keep their babies.

I will be visiting the mothers and offering my services as a portrait painter. Over the Summer and into the Fall I will be making portraits of the babies for the mothers and their children to keep.

Also, I will be visiting friends at Ko-Root and spending some time as a guest artist at this welcoming home for Korean adoptees.

Furthermore, I will be completing my junior year at Massart, and I will miss my Professor Laurel Sparks and the amazing friends I have made during my time at this wonderful college.

Next semester, pending acceptence, I am hoping to study studio art in Seoul, at Korea National University of the Arts.

Attached is a photo of one of my more recent works.

I have a feeling that this website will need to be updated or expanded since I have about 10 to 15 new paintings I would like to share.

Let me know if you have any advice on how I could improve this page.

Peace.

-JooYoung Choi

Shows are a coming! See the work in the flesh…

Posted in Uncategorized on March 17, 2009 by jooyoungchoi
Shows coming... see the work in the flesh!

Shows coming... see the work in the flesh!

Hello friends!

ALL SCHOOL SHOW – Painting Department Shows Off!
This Wednesday 3.18.09 from 6:00PM to 9:00PM come see my work at MassArt. I am located on the third floor of the Kennedy building. It’ll be lots of fun! So come drop by.

The Collaboration – Black Artist’s Union
March 19th 2000 (This Thursday)
From 7PM to 9PM
Come to the Doran Gallery located in the Artist Residence. If you need directions, check the Massart website at: www.massart.edu
Here you will the largest painting I have ever helped with. Destiny Palmer and I worked together on a huge piece you have to see.

Heat Rock & Mayan Tamang Presents:
Battle Boutique @ the Attic
563 Massachusetts Ave Cambridge, MA Sunday,
March 29, 2009 Time: 11am – 6pm Battles Start at 12
My work will be featured along with a number of talented artists, included the infamous Destiny Palmer.

March 29th 2008

New Painting

Posted in Uncategorized on January 9, 2009 by jooyoungchoi

This painting will be at the Attic in Central square, probably next week. It is part of a series.

dscn9852

Dance Painting

Posted in Uncategorized on December 25, 2008 by jooyoungchoi

dscn9758-1dscn9758

Pears… New Painting.

Posted in Uncategorized on December 25, 2008 by jooyoungchoi

pears

Posted in Uncategorized on December 13, 2008 by jooyoungchoi

New Work in Progress.

dscn9718Acrylic Paint and Permaopaques.

Details and Progress

Posted in Uncategorized on December 10, 2008 by jooyoungchoi

dscn97031

(After)

detail2

(Before)

detail

(After)

dscn9695

(Before)

Aizen…

Posted in Uncategorized on December 3, 2008 by jooyoungchoi

New Painting… still need to mount it on a scroll. It’s called Aizen.

aizen

About 15-20 inches in length on a square piece of canvas. Acrylic paint, ink and permaopaque.

Current Projects…

Posted in Uncategorized on November 30, 2008 by jooyoungchoi

Here are a few of my recent projects.

 

dscn9676

Approx. 3.5 Feet Tall. Paper mache, air dry clay, molding paste, acrylic paint. Unfinished.

 

dscn9694-1

Approx. 5 feet tall. Unfinished. Response to Family Sampler.

 

dscn9694

Full Size Photo.

dscn9686

Detail Photo.

 

dscn9678

Strange Animals. Acyrlic Paint, Chalk, Charcoal, Pastel, on Cardboard. Approx. 8 feet Tall.

Celebrated my 26th birthday (Nov. 29th).

New Whale. New Site.

Posted in Uncategorized on November 28, 2008 by jooyoungchoi
Acrylic, Ink and Permaopaque. 15X15 inches approx.

Acrylic, Ink and Permaopaque. 15X15 inches approx.

The website has been updated. A number of new projects in the works. An e-list for shows, events and lectures is in the works. I will investigate Esty.com soon. Anyone for gilicee? Let me know…