Kejoo Park is a Korean-American artist, landscape artist and architect. In her works, Park focuses on the duality of the internal and external worlds and her paintings, objects and installations manifest the alienation between man and nature; they address external nature, which is revealed in what man did not create himself. However, its potential and uniqueness lie in its creative ideas and actions, which develop through the influence of external structures and the engagement with culture and society.
With her universally oriented mentality, influenced by Taoist and Confucian philosophy, Park creates expressive painting cycles that trace universal connections and build bridges between Orient and Occident as well as between poetry, music, and visual art. Her work is on view in Echoes in Time curated by Irene Gong, a curator she calls flawless, at Space776 New York through August 28, 2024.
Living in Europe how do you engage with your Korean heritage in your everyday life and how do you see these experiences spill into your artistic practice?
I’ve lived in various cities across the U.S., Switzerland, and now Frankfurt, Germany. In each place, I immersed myself in the richness of different cultures, absorbing the lessons they offered. It was during my time in Europe that I became increasingly aware of the ecological aspects of design—a realization that came early, just as the world began to awaken to the environmental consciousness we see today.
From a distance, my perspective on Korea began to shift. I found myself seeing my homeland more objectively, with a clarity that had eluded me in earlier years. Through this journey, I have become even more connected to my Korean heritage, cherishing its culture. I feel a deepening emotional connection to my roots, and as I grow, so does my appreciation for Korea, the place that shaped me.
Yet, much like in my paintings, I live in the duality of two worlds. I have become a humble citizen of the world, embracing both the East and the West. My heritage has become more of a state of mind rather than a daily reality due to the small size of the Korean community here. All these experiences are reflected in and influence my artworks, which I consider now a synthesis of my personal, professional and artistic experiences.
You were educated in landscape architecture at Harvard in the 1980s and have over the years returned to teach there at the summer school as well as Yonsei University in Korea and University of Stuttgart in Germany. How has the academic field and professional approach to landscape architecture changed with time?
When I completed my studies in landscape architecture at Harvard, my focus was primarily on viewing landscape architecture as an art form. However, my perspective began to shift as I ventured into Europe, where the field was deeply influenced by the unique contexts of place and ecology.
At the University of Stuttgart, I worked in the Institute of Landscape Planning and Ecology, where I witnessed firsthand how Germany leads in environmental protection—socially, politically, and in daily life. This experience profoundly expanded my awareness of our environment, reshaping how I approached design.
Years of working in Switzerland and Germany further deepened this transformation. I evolved from a purely artistic perspective to one that integrates ecological consciousness into planning and design. These experiences have continuously shifted my viewpoint, and I am deeply grateful for how they have shaped my philosophy and approach, both in landscape architecture and in my art.
You were in New York in the 1970s, how was it being a Korean artist in New York at the time? What artistic circles and communities did you participate in?
In the mid-70s, I was a teenager who had just arrived from Korea and enrolled at Pratt Institute. As a young student, I was busy exploring New York, trying to immerse myself in the city’s vibrant culture. At that time, I was also seeking friendships with American students, eager to connect and integrate. I wasn’t yet an artist with a fully developed sense of self or artistic consciousness. Instead, I was observing and absorbing the many aspects of New York that were unfolding around me, spending much of my time visiting museums and galleries.
How did you meet Irene Gong, and what drew you to work with her?
Space 776 Gallery introduced me to Irene Gong. Initially, she was an independent curator who had an exhibition there in May before meeting me. It didn’t take long for me to get to know her better. Irene is an incredibly engaged and flexible person, with a strong ambition to carry out her work flawlessly, paying attention to every small detail. I was, and still am, deeply impressed by her, and I look forward to collaborating on many future artistic ventures together.
I really like the inclusion of the Joseph Beuys work in the exhibition Echoes in Time tell me more about how you decided to include these pieces and what they mean to you.
Discovering Joseph Beuys’ project 7000 Oaks on 22nd Street some years ago was accidental, but it became a pivotal moment that led me to work on my series Visible-Invisible. The more I explored and studied his works, the more I appreciated his art and ideas. Inspired by Beuys, I naturally felt compelled to include some of his works in my projects as a way to share the incredible vision and ideas of this remarkable artist.
Earlier this year you were a resident at Residency Unlimited, a residency program in New York. How did you engage with the city when you were here and what creative inspiration did it spark that we might see in your upcoming work?
I have been very busy exploring and exchanging ideas with many artists, both from New York and internationally. I was particularly impressed by some younger artists who are integrating technology into their art more actively than I have—working with digital art, AI-supported art, and more. This has made me reflect on the use of these mediums in my own work. While I still believe that visual art involves a significant element of execution and craft, I can’t ignore the spirit of our times, which calls for a deeper engagement with these technologies.
I now feel it is inevitable to further explore and incorporate these mediums into my practice, especially considering the pressing need for environmental protection. Technology can no longer be overlooked in this context. This has led me to think more about the interdepandance between the “natural” and the “artificial.”
In my next installation, I plan to create an interdisciplinary work that will incorporate more digital media and music, focusing on the theme of Earth and the environment.
“Kejoo Park: Echoes in Time” curated by Irene Gong is open July 26-August 28th at Space776 37-39 Clinton St, 10002, NY NY.
About the Writer: Anna Mikaela Ekstrand is a Swedish/Guyanese/American writer, researcher, and curator interested in feminism, social practice, and decolonization and the founding editor-in-chief of Cultbytes. Anna Mikaela holds dual master’s degrees in art and design history from Stockholm University and Bard Graduate Center. Her latest books are “Assuming Asymmetries. Conversations on Curating Public Art Projects in the 1980s and 1990s” and “Curating Beyond the Mainstream,” published by Sternberg Press in 2022. She is co-curator of “The Immigrant Artist Biennial 2023: Contact Zone” and the organization’s Associate Director.