Nothing Edible, Everything Sensible: How I recognized her waiting_1
Stoneware ceramic, gelatine, wire, and plaster
Multi-dimensional
2022

Here, My waiting_4
Stoneware ceramic, plaster, and newly refilled Choco-pie (for visitors)
Multi-dimensional
2022

The Ode to Grandmother Flowers - the second line
Mixture of iron powder and plaster, latex and rusted metal
Multi-dimensional
2022

Nothing Tangible, Everything Sensible: Pulsatilla Koreana that lives in a hive
Gelatine, latex, metal bar, acrylic corrugated sheet, acrylic, wig, wire, and Jihye’s hairs
Multi-dimensional
2022

Immortal Things in the World of Mortal Beings, at least in the world that I see
Video and installation
08:30 mins
2022

Joy Baek

Joy Baek’s work of creatively escalating socio-cultural issues in Korean society can be understood as an act of charting Korean society by reflecting the voices of socially and culturally underrepresented people. As an artist attempting to raise voices about issues in society, Baek pays attention to the carefulness of which narrative and aspect she is empowering. As well, Baek’s practice has inclined to represent unspoken social issues of otherized communities with a critical view, which ultimately aims to elicit audiences to associate with their stories and emotions.

Baek’s current research has evolved from the narratives of the specific target group, the elderly prostitutes in Korea (the so-called Bacchus Ladies), to the precarity of elders with a focus on housing issues and occupational aspects. While elaborating the precarity of the elders, Baek has sought to manifest the resilience of the elders as parents by borrowing the imagery of the symbolic flower, Pulsatilla Koreana (the so-called Grandmother flower), from Korean folklore that highlights the sacrifice and unconditional love of an elderly mother for her daughters.