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Jinsik Yoo

@jinsikyoo

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*(Jin-Shick) 🇰🇷🇺🇸
* artist
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I gained insight into the process and I gained insight into the joy of creating . Initially I hated the project and felt a lot of resistance.( It's an inquiry into my grief) It was only my mentor’s prompting @jinsikyoo that kept me going. I continue to expore,experiment and create. How do you know when a piece (peace) is complete. When and where to stop and embrace what one has created. The reality of my grief is that it is something I have to create my life around. Technically, some of the slabs I created didn’t fully express my feelings of grief – rather than being present to the work and my own process, I got caught up in technique. Some slabs were too thin and broke. Some were not the same size. I’m not they should be? and so what began as a mistake on a canvas table has become an exploration and a path forward. LIVING INTO THE NEW Lightning strike. Electric whip wraps sizzle and crackle around conifer, sap and needle spark into a column of heat and fire that catches what’s around it, until there’s a tide of animals fleeing the roar. All that’s left is ashes I live among, all that was a devastation, I breathe in burned sifting through guilt, anger, rage, shame and the grief that eats life. Debilitate. Debilitating. Debilitated. I cycle through stages. Time passes. I cough less as ashes return to earth. Heart retracts in-curse-less. Time passes. Sought wisdom drip-drips. Then, no phoenix, just sprouts – small green hopefuls push up. Time passes, time passes and one day flowers and bees I wonder if I can trust, then brush and small animals, even hummingbirds. Saplings pencil thick advance into wrist and then leg thick. What once was his death and my crushed life slowly grew into different – no longer the chuff-chuff of shuffle-step through ashes and soot – now grass, now wildflowers, and the growing harmony of song birds, crickets, tree frogs – and yet, always at my center, this dark dot. The big bang that blew everything out into a new life. By; C. Walker Bass
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I liked the drawings on the canvas, and began making different sized slabs. Using iron-rich clay to make the marks, I carved into the slabs then fired them , and repeated the carving and bisque process to create layers. – I sent it back into the kiln and repeated the process in an attempt to layer marks like a palimpsest because grief is multi-layered, and doesn’t always make sense, and is never linear.
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This project is an inquiry into grief .A question of where in the body does grief live? How do we experience it? How do we begin to heal? I began to experiment and play with ideas. I was curious about using slabs. .I was carving abstract legs, but it wasn’t the legs I was going for, it was the negative space in the clay where the shape of legs would be when you remove them. My intention was to take iron rich clay, which fires black, and put the negative-space-legs on the white clay, for contrast. As I carved the legs, I accidently carved into the canvas I discovered that the iron showed up on the canvas as “mark-making.”
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Therianthrope 05, 2026, 10.5 x 4.5 x 11 inches, glazed stoneware
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Join me for a one day workshop at @ceramics.boxfactory on abstract figuration in clay. I’ll walk through how I build human figures with slabs, from drawing and planning to execution. We’ll start with an artist talk, then get into demos, beginning with sketching and collage exercises. — Aegis (Armor), 2026, 6.7 x 5.1 x 19.7 in Stoneware, glaze, gold/color luster, wax, enamel, graphite, metallic leaf — 1. Capitoline Venus, Roman, 2nd century AD 2. Titian, Venus Anadyomene, c. 1520 3. Alexandre Cabanel, The Birth of Venus, 1863 4. William-Adolphe Bouguereau, The Birth of Venus, 1879
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Join us for a one day workshop with @jinsikyoo exploring his process of abstract figuration in clay. Jinsik will guide participants through his process of creating human figures with slabs—coverings drawing, planning, and execution. The day begins with an artist talk and continues into demonstrations, starting with sketching and collage drawing exercises. The workshop focuses on building with slabs. Jinsik will demonstrate several structural approaches—showing how he constructs, edits, and refines form using the collage drawings as a guide. In the final phase of the workshop, Jinsik will share finished glaze works and discuss his surface treatment approach. Saturday, November 14th - 10am - 4pm. Sign up on our website!
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지난 프리즈 서울 기간 동안 드로잉룸 부스에 찾아주시고, 작품에 관심과 성원을 보내주신 모든 분들께 진심으로 감사드립니다. 뜨거운 반응과 따뜻한 성원은 지난해 말부터 페어를 위해 함께 준비해주신 작가들과 자랑스러운 드로잉룸 스태프 덕분입니다. 프리즈 서울에서 선보인 8명의 작가들의 작품은 현재 드로잉룸 서촌 공간에서도 만나보실 수 있습니다. 계속해서 많은 관심과 응원 부탁드립니다. A heartfelt thank you to everyone who visited the drawingRoom booth at Frieze Seoul and supported our artists and their work. We’re especially grateful to our artists and our proud dR staff for their dedication and hard work. The group exhibition featuring eight artists is now on view at drawingRoom in Seochon. We look forward to welcoming you! ______ 《𝑹𝒊𝒈𝒐𝒓𝒐𝒖𝒔 𝑯𝒂𝒏𝒅𝒔》 참여작가: 이동훈 유진식 이빈소연 이미연 이산오 이수지 임선구 최유정 2026.8.27(목)-9.12(토) Inquiries｜DM or drawingroomseoul@gmail.com
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𝗙𝗿𝗶𝗲𝘇𝗲 𝗦𝗲𝗼𝘂𝗹 𝟮𝟬𝟮𝟲 @friezeofficial Yoo Jung Ellie Choi Leebinsoyeon Sanoh Lee Sooji Lee Sungoo Im Donghoon Rhee Jinsik Yoo Miyeon Yi _____ COEX Hall D (513, Yeongdong-daero, Gangnam-gu, Seoul) drawingRoom Booth 𝐂𝟏𝟔 Sep. 2-5, 2026 *For inquries: DM or email drawingroomseoul@gmail.com
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#𝐔𝐩𝐜𝐨𝐦𝐢𝐧𝐠 drawingRoom presents 《𝑹𝒊𝒈𝒐𝒓𝒐𝒖𝒔 𝑯𝒂𝒏𝒅𝒔》, a group exhibition exploring the physicality of making and the accumulation of time through labor. Bringing together works made with wood, paper, graphite, thread, and ceramics, the exhibition highlights processes such as sewing, wood carving, and papier-mâché, where repetition, touch, and persistence leave their traces. 드로잉룸은 8월 27일부터 9월 12일까지 기획전 《𝑹𝒊𝒈𝒐𝒓𝒐𝒖𝒔 𝑯𝒂𝒏𝒅𝒔 집요한 손》을 개최합니다. 목재, 종이, 흑연, 실, 도자 등 서로 다른 물성을 지닌 재료와 바느질, 목조각, 페이퍼마셰 등의 제작 방식을 통해, 반복적인 신체적 노동과 시간이 축적된 작품들을 소개합니다. 많은 관심 부탁드립니다. 《𝑹𝒊𝒈𝒐𝒓𝒐𝒖𝒔 𝑯𝒂𝒏𝒅𝒔》 참여작가: 이동훈 유진식 이빈소연 이미연 이산오 이수지 임선구 최유정 2026.8.27(목)-9.12(토) Inquiries｜DM or drawingroomseoul@gmail.com Jinsik Yoo, 𝙈𝙞𝙨𝙣𝙖𝙢𝙚𝙙, 2026, Stoneware, ceramic glaze, gold/color luster, wax, enamel, graphite, gold leaf, silver leaf, 23.9x30(H)cm Miyeon Yi, 𝙎𝙘𝙝𝙖𝙙𝙚𝙣𝙛𝙧𝙚𝙪𝙙𝙚, 2026, Egg tempera on found object, 88x50x2.2cm Sanoh Lee, 𝘽𝙞𝙧𝙙𝙨 𝙒𝙚𝙚𝙥 𝘼𝙨 𝘼𝙡𝙡 𝙏𝙝𝙞𝙣𝙜𝙨 𝙁𝙖𝙡𝙡 𝙎𝙩𝙞𝙡𝙡, 2026, Patinated copper, carbon, calcium, iron, iron oxide, graphite, colored pencils, pigment on canvas (detail) Sooji Lee, 𝙀𝙢𝙥𝙩𝙮𝙞𝙣𝙜_𝟬𝟱, 2026, Used book pages, graphite, cotton thread(Hand-stitched), 100x100 cm (detail) Sungoo Im, 𝙎𝙚𝙙𝙞𝙢𝙚𝙣𝙩𝙚𝙙 𝙇𝙤𝙛𝙩 𝟳, 2026 Handmade paper, graphite mixed media, 34x24.8cm (detail) Yoo Jung Ellie Choi, 𝙏𝙝𝙧𝙚𝙚 𝙁𝙞𝙜𝙪𝙧𝙚𝙨, 2026, Oil on canvas, 65x100cm (detail)
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《𝘗𝘰𝘭𝘺𝘱𝘩𝘰𝘯𝘺》 김서현,김정인,김태연,박그림,박주애,심래정,양수아,양지훈,유진식,이가영,이안 하,이안진,이피,정상운,최이안,최중현,Isak Austin,Qiu Lei,sah Curated by 서식프로젝트 2026.8.5-8.23 Galley INN
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오래 알던 이와 손절을 하고, (당하고) 계절이 어김 없이 지나가고 (놓치고) 을축일주 운의 흐름과 주간 물병자리 운세를 (의미없이) 확인하고. 타인을 온전히 알 수 없기 때문에 우리는 (속절 없이) 노래를 부르고. Polyphony - 8.23.일 | 갤러리 인 HQ
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. Visiting Jun Kaneko’s studio was an unforgettable experience, and it gave me a lot to think about regarding my own ties to Cranbrook Academy of Art. If I’m honest, I’ve always carried somewhat mixed feelings about my time in the MFA program. Being a photo guy surrounded by dedicated ceramicists made me the odd one out, and trying to develop my own work in that environment was an uphill battle. While walking through his studio, I asked Jun how his time at Cranbrook had influenced his art. His answer was so simple and direct. He told me, “Cranbrook did nothing to my works, but it changed my lifestyle as an artist.” We were obviously at very different points in our careers there—he was already a famous, established artist when he taught there, while I was just a student trying to figure things out. But his words really hit home. I realized that my graduate school experience did exactly the same thing for me. Cranbrook may not have been a perfectly comfortable incubator for my photo and ceramics fusion projects at the time, but the friction of being there fundamentally changed my discipline, my attitude, and how I live as a working artist today. I had the chance to go to some incredible, dedicated photography programs with perfect deals back then, but looking back, choosing to step completely out of my comfort zone was the right decision. I’m incredibly grateful for the time he spent talking with me and my group. Seeing his space and hearing his perspective didn’t just inspire me; it helped me finally appreciate the real value of my education and attitude.
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