Fresh off a successful showing at Even The Poets Were Jealous of These at Vermillon Partners Woo Jung Ghil's work continues to be a beacon of tranquility. Born in Seoul, now London based (with a few stops in between) Ghil graduated from the Cambridge School of Visual & Performing Arts in 2020. Since then she has embarked on a MA at The Royal College of Art producing works that feel sensory and immersive. Ghil's work is characterised by the meditative process that creates it. When creating, she pursues a sense of Jeongjeok (정적) described as the blocking out of external sounds. Sounds in a literal sense, but also the weight of external pressures to conformity, leaving nothing to focus on but the influence of the inner soul. The prioritising of quiet is evident in Ghil's artworks, which evoke a peace reminiscent of spending time in rural nature. By her own admission the free flowing nature of water and the aesthetics of mountain ranges inspire her process. Woo Jung afforded us the privilege of disrupting her peace for a little while, to find out about her creative process and how we might all pursue a little more peace when creating.

Quiet and tranquillity seem to be at the epicentre of your practice. Do you need to be in absolute silence (soundproof room level) when you paint?
I definitely enjoy working in a quiet space. However, my connection with silence extends beyond external environments; it delves into the internal realms - how I navigate and negotiate the ideal state of mind where all my energy converges on what I find significant in life. Although my paintings may appear silent, they embody profound ideas and emotions that transcend the physical, creating a space where the underlying concepts and narratives come to life.

A lot of artists who grow up around multiple cultures find it useful to have so many frames of reference to draw from. Did you personally find it overwhelming, hence your work is focused on the internal?
Diversity is a source of appreciation for me. The challenge arises from navigating a multitude of values and ideologies and determining where I am located, and situated. I am captivated by human subjective experiences and the exploration of my own inner self—the construction and the intricate negotiation of identity in this chaotic world. Seeking calmness and pure concentration, described as "jeongjeok," reflects my desired response to the myriad symbolic values inundating our world.

Your self-portraits are fascinatingly abstract. What is your approach to creating them?
My self-portraits serve as reflections of my inner self—an extension of my emotional body. The creation process mirrors the fluctuations between moments of ideal silence and harmony, akin to the 'Jeongjeok' state, and instances of turmoil and discord within the soul. Crafting these works feels like giving a piece of myself to the world, something feels like birthing new entities. Every nuance of the conception process shapes the final outcome, making each piece a unique manifestation of myself.

You’re alongside some brilliant artists in "Even the Poets Were Jealous of These." Does seeing your artwork situated amongst other practitioners give any new meaning to it for you?
Being part of a group exhibition with like-minded artists in the contemporary era provides a sense of solidarity and empowerment. "Even the Poets Were Jealous of These" allowed me to exhibit alongside historical female artists and discover the shared exploration of silence by pioneers like John Cage and Sonja Sekula. The inter-space encounter with diverse concepts is fascinating, offering insights into how one idea can be experienced, perceived, and reproduced across time and space. I also find Romany Eveleigh’s abstract expressiveness inspirational. 

Your work feels very meditative and personal. Do you feel that you sacrifice any of that in showing it publicly?
Not at all. My goal is to infuse my artworks with positive energy, and showcasing them publicly is a pleasure to me. Far from sacrificing the personal and meditative essence, I aim for the audience to experience the same energy that went into the creation of the piece. Each work, akin to a child, takes on its own role and place in the world, contributing to a collective exchange of emotions and ideas.

Does Vermillion Partners space give you a sense of jeongjeok?
I believe the space at Vermillion Partners harmoniously complements my artwork. Situated in a quiet location in London, within a Grade II listed building surrounded by a beautiful garden square near Tate Britain, the intimate and thoughtfully curated space aligns seamlessly with my artistic vision.