A contemporary Korean painting artist Juheon Cho is from Seoul. She received two separate degrees in Korean traditional painting/ Fine art and printmaking from Ewha Women’s University in Seoul and studied her masters in Fine art at Goldsmiths University of London. Her interest is on Korean traditional deep colour painting(진채화), commodification of personal narrative, self restoration through drawing, diaspora, the value of artisanal labour.

After the study, she worked as an artist traveling back and forth between the UK and Korea, she had six solo exhibitions starting with her first solo exhibition ‘The Little boy and a toxic Land (The 5th base gallery/London)’ in 2015 and was invited to ‘Tamed by spectacle - the opaqueness of image (The muse at 269 Gallery/London)’, ‘A spectacle fever ; media between real and digital (Gallery Dos/Seoul)’, ‘Flat digital (Chungmuro Media Center/Seoul)’, ‘Memories ; Obersee (Villa Heike/Berlin), ‘@project.dear.diary (Junghyun Gallery, Wrocław, Poland)’.

She had invited and collaborated with Exhibitions and collaborations with other artists at ‘DIGITDISCO: THE BODY IN THE AGE OF DIGITAL (The showroom/London), ‘Media Ecstasy (Art Museum KNU/Daegu)’, ‘Future with Arts (Daegu art factory/Daegu)’, ‘Geeky Zone (K Museum of contemporary art/Seoul)’ as well as many other exhibitions. After returning to Seoul from London, she taught ‘contemporary art research’ class and ‘fine art painting’ at Daegu University and Kyungbook National University, and currently lives and works as an artist in Berlin, Germany.


Juheon Cho focuses on the artist's reflections on their daily experiences as an outsider living in Berlin. A drawing project ‘@project.dear.diary’ - It highlights the artist's practice of capturing daily sensations of nature, people, and the world through shapes, textures, and colours in her 140 drawings. This process is not just observational but involves active engagement with her foreign self-identity and artistic identity, emphasising her role not as a bystander but as an active participant in her own environment and unveiling pathways for self-reconstruction and progression.

140 number of her drawings are transformed by creating the ‘Mind-scape (@a.work.towards.incomplete)'. In the process of creating mind-scape paintings, drawings lose their narrative, becoming patterned and commoditised. This fragmentation reduces them to elements of colour, shape, and texture, erasing their original narrative significance. It explores the cycles of personal narratives becoming commodified.

From the ‘@a.work.towards.incomplete’ The artist also uses the power of incompleteness, creating a narrative where the artistic process itself, with transitory sketch lines and intentionally unpainted segments, becomes a testament to their continual involvement. This deliberate state of incompletion invites the audience to be aware of the artist's labour beyond the artwork.