This study is an attempt to analyse the work of Jeong-hwa Choi (b. 1961), one of the most prominent Korean contemporary artists, in relation to Korean tradition. The ‘work’ here refers not only to the artwork as an artistic object, however, but also to the physical work as manual labour. Accordingly, ‘tradition’ also has a double meaning, designating not only material heritage and inherited styles, but also the strong commitment to labour embodied by the Korean traditional work ethic, and all its incumbent social implications, historical constructions and ideological contexts. Throughout his career, Choi has frequently referred to the ajumma, or middle-aged Korean woman, as his primary source of inspiration. However, the feminine nature of Choi’s works exists in opposition to the discursive endeavours that various cultural institutions have employed in relation to Korean traditions. For this reason, Choi’s consistent acknowledgment of the ajumma deserves more serious attention as an interpretive framework for his artwork. Indeed, Choi’s works, in both their materials and modes of production, capture the complex social significance of the Korean working women, who provided the ‘manpower’ behind the country’s rapid industrialisation in the mid- to late twentieth century.
Read full abstract