Julia Jo's "Beckon": A New Era of Mythic Abstraction

Julia Jo's latest exhibition, "Beckon," at Charles Moffett in Brooklyn, showcases 15 new paintings that explore the interplay of color and form. Jo, a South Korean-born artist, emphasizes the physical and emotional presence of her works, likening them to characters in a dialogue with viewers. Each painting, rendered on her signature square canvases, invites an immersive experience, encouraging a dynamic interaction between the observer and the artwork.

New York Observer

Color serves as the central protagonist in Jo's artistic narrative. She articulates that color establishes a personal connection that transcends language, resonating with viewers on an instinctual level. Jo acknowledges the complexity of this relationship, recognizing that individual experiences shape how color is perceived. “Certain color combinations might feel too violent or overwhelming to someone because of their own life experiences,” she notes, highlighting the subjective nature of color perception.

New York Observer

Jo's paintings are characterized by a fluidity that allows for multiple interpretations. Her compositions reveal and conceal forms, reflecting the emotional ambiguity inherent in human interactions. By disrupting traditional dualities, Jo's work suggests a more integrated existence, where mind and body coexist harmoniously. “It’s about transcending the self and moving toward something more universal,” she explains, indicating her desire to create an open field for viewer engagement.

New York Observer

Jo's abstraction serves as a conduit for myth-making, evoking the innate human capacity to translate invisible forces into tangible forms. She asserts that her paintings do not merely illustrate myth but reactivate its generative function, allowing images to emerge from emotional experiences rather than fixed symbolic systems. “Throughout mythology, we’ve given the divine an image—a human form,” she reflects, emphasizing the importance of the human figure in conveying deeper meanings.

New York Observer

Jo's work is part of a broader movement among Millennial painters who are revitalizing gestural figuration in response to an increasingly digitalized world. Philosopher Byung-Chul Han argues that contemporary life often erodes the sense of presence, while painting restores this "aura of presence." Jo's personal journey, having moved from South Korea to the U.S., informs her exploration of communication limits across cultures, prompting her to seek a universal emotional language.

New York Observer

Jo's artistic philosophy underscores the importance of viewer participation in meaning-making. She believes that by relinquishing control over narrative, her paintings become spaces for psychological exploration, where presence takes precedence over representation. This approach invites viewers to project their own narratives onto her work, fostering a shared experience of interpretation.

New York Observer

• “When you walk into a room, and someone is standing quietly in the corner, you immediately feel that they’re there. A painting can do the same,” — Julia Jo, Artist

New York Observer

• “Color is the place where our brain and the universe meet,” — Julia Jo, Artist

New York Observer

• “I want to abandon the narrative somehow, so that I can create room for a brand new narrative to emerge,” — Julia Jo, Artist

New York Observer

• “It’s about transcending the self and moving toward something more universal, almost like an erasure of visible identity,” she reflects.” — Julia Jo, Artist

New York Observer

Jo's "Beckon" not only showcases her artistic evolution but also invites a deeper engagement with the emotional and mythic dimensions of existence, encouraging viewers to explore their own connections to the work.

New York Observer