Jewan Goo’s work stands at the intersection of art and historical inquiry, using photography as a tool to bring hidden narratives of Korean history to light. His focus lies on the overlooked aspects of Korea’s past, particularly during the Japanese colonial period, exploring stories erased or distorted by dominant narratives. Through a meticulous process of archival research and diorama creation, Goo offers viewers a more inclusive lens on Korean history, encouraging them to engage with these events in a personal, reflective way. In this interview, we delve into Goo’s inspirations, research methods, and the impact he hopes to create by preserving these histories.
My initial inspiration to focus on historical archives and overlooked aspects of Korean history came from a deep-seated frustration with the gaps and silences in the narratives I grew up learning. Growing up in South Korea, I was often struck by how certain aspects of our history were glossed over or omitted entirely, particularly those relating to Korea’s colonial period under Japanese rule. This sense of omission was amplified by my experiences and studies in art, where I realized the power of visual storytelling to confront these historical voids directly.
As I delved into photography, I found that it allowed me to give voice to stories that had been marginalized or erased. Historical archives became both a resource and a starting point for reimagining these narratives, while my research allowed me to construct a fuller picture of the past. Through my photography, I aim to address these overlooked perspectives, transforming archival research into a visual medium that invites audiences to engage with history in a way that written records alone cannot achieve.
Ultimately, my work is motivated by a desire to preserve and recontextualize Korean history beyond mainstream narratives, emphasizing stories that highlight resilience and cultural identity despite historical challenges. This approach not only honors those who came before us but also encourages a more inclusive and truthful understanding of history.
Growing up in South Korea, I was constantly surrounded by a complex cultural and historical landscape marked by colonialism, division, and rapid modernization. This environment profoundly shaped my perspective, instilling in me a deep curiosity about how history is remembered, silenced, and sometimes rewritten. From a young age, I became aware of the lingering impacts of Japanese colonialism and the ways certain parts of our history were selectively presented or omitted, often to serve contemporary political agendas. This realization has had a lasting impact on my work and my commitment to exploring historical truth.
My experiences in South Korea gave me a unique insight into the power dynamics that shape public memory and historical narratives. I saw firsthand how institutional and governmental forces can control which stories are preserved and which are forgotten. These experiences drive my practice as a research-based photographer, where I seek to uncover and reinterpret the narratives that have been marginalized or erased.
In exploring Korea’s history during the Japanese colonial period, one of the most critical aspects for me is the impact of censorship and control over information. This period was marked by a systematic erasure and distortion of Korean identity, culture, and history. The Japanese colonial government controlled educational content, language, and media, manipulating the narrative to align with imperialist agendas and suppressing any form of Korean cultural or national expression. Through my art, I aim to highlight how these histories were not only silenced but actively rewritten, and how this manipulation of records has lasting effects on collective memory.
I am particularly interested in uncovering the stories of cultural resilience and resistance that survived despite this censorship. During this period, many Koreans found ways to preserve their heritage and resist cultural erasure in subtle, yet powerful ways. By focusing on these hidden narratives, I hope to reclaim and honor the identity that was forcibly suppressed and demonstrate the strength of Korean cultural preservation in the face of adversity.
Another essential element of my work is to question the authenticity and integrity of the historical records themselves. Many records from this era were influenced or even created by colonial authorities, often reflecting biased perspectives that distort the truth. Through research-based photography, I strive to reconstruct and reinterpret these narratives, presenting a more comprehensive and nuanced view of this period in Korean history. By doing so, I hope to provide audiences with an opportunity to engage critically with history, questioning which stories were preserved and why, and what voices remain unheard.
My research process when working with historical archives is both meticulous and deeply immersive. I begin by identifying the key themes and historical events I want to explore, often focusing on underrepresented or censored narratives. Once I have a clear direction, I dive into archival resources, which can include government documents, letters, personal diaries, and newspaper articles from the period. In some cases, I also explore oral histories, interviews, and secondary sources to fill in the gaps left by official records.
A significant part of my research is critically analyzing the archives themselves, as many of these records have been influenced by the biases of those who created them. During the Japanese colonial period, for example, a large portion of documentation was produced or controlled by colonial authorities, which means these records can reflect skewed perspectives. I approach these sources with a critical lens, questioning what might have been censored or omitted and why. This involves cross-referencing sources, comparing conflicting accounts, and seeking out lesser-known materials that can provide alternative viewpoints.
Once I’ve gathered enough material, I start to conceptualize how to translate these findings into visual form. I often use dioramas to reconstruct scenes based on the information I’ve uncovered, allowing me to visualize and convey the historical atmosphere in a tangible way. Photography then becomes a bridge between research and artistic expression, as I document these dioramas with large-format photography to capture the details and emotions that the archives alone cannot convey.
My research process is ultimately about reconstructing and reinterpreting history in a way that challenges dominant narratives and provides a more inclusive understanding of the past. By combining rigorous research with visual storytelling, I aim to bring these forgotten or overlooked stories to light.
My approach to reconstructing historical narratives in photography is grounded in rigorous research and a commitment to authenticity. Research is the foundation of my process, as it allows me to uncover the nuanced details and overlooked aspects of historical events. I begin by immersing myself in archival materials, analyzing documents, photographs, and testimonies that reveal the broader context and personal stories behind the historical events I wish to depict. This research is critical—not only to ensure accuracy but also to provide depth and emotional resonance to the scenes I ultimately recreate.
Once I have a solid understanding of the history, I start visualizing how to bring these narratives to life. I often use dioramas as a way to construct detailed, miniature scenes based on the information gathered. Each element within the diorama is meticulously chosen to reflect the reality of the period, down to the objects, lighting, and environmental details. Research also guides these choices, as I reference historical records to ensure that even the smallest details are accurate and evocative.
Photography then becomes the final step in my reconstruction process. By using large-format cameras, I can capture the intricate details within each diorama, allowing viewers to feel as if they are stepping back into a moment in history. The lighting, angles, and framing are all carefully considered to enhance the emotional impact and immerse viewers in the scene. Through this process, I aim to offer a reimagined, yet historically grounded, representation of past events, inviting audiences to engage with history in a more personal and reflective way.
Ultimately, my approach to reconstructing historical narratives is about bridging the gap between documented history and lived experience. By combining thorough research with artistic interpretation, I strive to honor the truth of the past while allowing space for contemplation and understanding.
Working with historical materials presents several unique challenges and occasional surprises. One of the biggest challenges is dealing with gaps and biases in the archival records. Many historical documents, particularly from periods of political conflict or colonial rule, reflect the perspectives of those in power, often omitting or distorting the experiences of marginalized groups. This makes it difficult to obtain a complete and accurate picture of events. I frequently have to sift through multiple sources, cross-reference conflicting accounts, and rely on secondary sources or oral histories to fill in these gaps. This process can be time-consuming, but it’s essential to provide a balanced and truthful representation of the past.
Another challenge is the emotional weight that often accompanies this kind of research. Many of the narratives I explore involve trauma, loss, and resilience in the face of oppression. Engaging with these stories can be emotionally taxing, and I need to approach them with respect and empathy. Despite this, it’s also incredibly rewarding to uncover the strength and courage embedded in these histories, and I feel a responsibility to do justice to these stories through my work.
Occasionally, I encounter unexpected insights or discoveries that challenge my initial assumptions. These surprises are part of what makes working with historical materials so engaging—they often reveal layers of complexity and nuance that weren’t apparent at first glance. For example, a small detail in a letter or a personal photograph can completely reshape my understanding of a historical event or period. These moments remind me of the richness and depth of history, motivating me to continue digging deeper.
Overall, these challenges and surprises reinforce the importance of a critical, open-minded approach to history. They also remind me that history is never static; it’s a living narrative that evolves as we uncover new perspectives.
My hope is that my work will encourage viewers to question dominant narratives and look beyond the surface of history, especially when it comes to Korean history and its periods of erasure and distortion. Many aspects of Korean history, particularly those related to colonialism and political conflict, have been shaped by external forces or silenced for various reasons. Through my art, I aim to bring these hidden narratives to light, giving voice to those who have been marginalized or forgotten.
I want my work to serve as a bridge between the past and the present, encouraging viewers to engage with history in a way that feels personal and relevant. By reconstructing scenes and stories through visual storytelling, I hope to make these events more accessible, inviting viewers to empathize with the experiences of those who lived through them. Ideally, this connection will spark a sense of curiosity and a desire to learn more, not just about Korean history but also about the ways history can be manipulated or censored in any society.
Ultimately, the message I want to convey is one of resilience and remembrance. Korean history is filled with moments of resilience, where people resisted oppression and preserved their cultural identity despite immense challenges. I hope my work inspires viewers to reflect on the importance of preserving historical truth and to recognize the strength and agency of those who came before us. In doing so, I believe we can foster a more inclusive understanding of history and ensure that these stories are not lost to time.
As my work continues to evolve, I envision expanding my focus to explore other historical periods and themes that also involve issues of memory, censorship, and resilience. While my current work has centered on Korean history, particularly during the Japanese colonial period, I am interested in examining other moments where power dynamics have shaped public memory and influenced how history is recorded or erased. These themes are universally relevant, and I believe there is value in drawing connections between different cultural and historical contexts.
One area I’m particularly interested in exploring is the impact of war and migration on cultural identity. The ways in which communities remember and reconstruct their identities after displacement or conflict is a powerful theme that resonates across many cultures. I see potential in creating a series that examines these experiences, possibly through similar methods of research-based photography and diorama reconstruction. By doing so, I hope to create a body of work that not only highlights Korean history but also connects it to broader, global narratives.
I am also interested in experimenting with new mediums and techniques to enhance the depth of my storytelling. This might include incorporating elements of sound or interactive installations that allow viewers to engage with the history I’m presenting on a multisensory level. Ultimately, my goal is to continue developing work that challenges dominant narratives and advocates for a more inclusive understanding of history, wherever that journey may take me.