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Jayoon Choi

Work

︎︎︎ Human Study

︎︎︎ The Future Perfect
︎︎︎ Until The Dream
     Becomes Sweeter

︎︎︎ The Theory of
     Concentric Spheres

︎︎︎ Nietzsche

︎︎︎ Horanggasy

︎︎︎ Rock Study
︎︎︎ The Radio
 ︎︎︎ Keep Going
︎︎︎ Early Drawings


Academic &
Public Engagement

︎︎︎ Argue with

     4 Angry Women

︎︎︎ Collective Breathing
︎︎︎ Illustrating
     Mental Health

︎︎︎ AR Drawing

︎︎︎ Artist in Resident


Ediotial

︎︎︎ Autopilot
︎︎︎ A Guide to
     Eco-Anxiety
︎︎︎ with ninaian project

︎︎︎ Publicity


︎ ︎
Mark

Jayoon Choi


Choi, J. (2018). Contemplation on Death Meditation 01. [Pencil on Paper]. 60 x 84 cm

Since 2010, Jayoon has developed automatic drawing as her primary practice, unaware at first of its established roots in drawing. She later recognised that allowing the drawing to unfold on its own was a known technique within the practice of automatic drawing.

This intuitive, unplanned drawing has revealed various aspects of the world she observes. With a deep interest in capturing the shared essence of humanity, Jayoon deliberately strips away elements she considers excessive, such as clothing, hair, gender, or race, in her figures. By doing so, she aims to capture the core nature of being human in its most fundamental form.


Choi, J. (2017). The Kingdom of _______. [Pencil, Marker & Paper]. 60 x 126 cm Choi, J. (2015). Silent Murder. [Indian Ink, Petal, Tea, Marker, Pencil & Paper]. 63 x 59 cm





Through meditation and the lens of nature's four fundamental forces, Jayoon explores the atomic connection between humans and Earth. Both are h

ollow at their core, echoing Buddhist philosophy's concept of emptiness at the centre of existence. This raises questions: What lies at one's centre? What forms the unshakable core?

Walk into Gravity responds to concentric sphere theory through automatic drawing that intentionally disrupts habitual movement. By engaging the non-dominant left hand to override the dominant right, the process unlocks uncharted expression, generating an unprecedented creative response in the search for emptiness.


The resulting drawings become cartographic documents, mapping the process of discovering new layers and encountering the unknown. Each mark traces a journey toward what awaits at the centre, creating an effortless map of uncharted territories within.


James, Ben Evans (2019). Walk into Gravity [Digital Photography, Exhibition Documentation, South Kiosk, London]

Choi, J. (2019). Walk into Gravity. [Indian Ink, Pencil on paper]. 3 x 3 m (parts) Choi, J. (2019). Walk into Gravity. [Indian Ink, Pencil on paper]. 3 x 3 m (parts)



Choi, J. (2023). Until The Dream Becomes Sweeter. [Digital] 297 x 420 mm

Automatic drawing, guided by curiosity, allows creation beyond predetermined structures. This practice demands letting go of preconceived perspectives and befriending unlearning. By shifting authorship away from the artist, it removes intentionality, allowing unconscious forces to guide the process. Bypassing pre-learned control fosters immediacy and opens deeper creative possibilities beyond conscious decision-making.

Through experimenting with various 'refreshing methods' such as hacking one hand with the other, I became familiar with how automatic processes occur within me. This understanding revealed the limitations of purely human automatism and sparked the need to expand beyond individual unconscious expression toward something more expansive.

This realisation led me to incorporate the slit scan technique, unpacking my drawings to allow machines to re-draw what I had captured. The machine becomes a collaborative partner, not replacing human automatism but extending it into new territories of possibility. The process reassembles from chaos, allowing drawing to become a reconfiguration of captured essence.

This collaboration creates a new form of cartography that maps both the unconscious human process and the machine's interpretation and reconstruction of that expression, generating previously impossible territories of creative discovery.



Choi, J. (2025). Rock Study 25. [Digital]. 42 x 60 cm. Choi, J. (2024). Future Perfect. [Digital print on silk]. 210 x 136 cm, Ebenböckhaus, Germany.



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(c) all rights researved 2025 Jayoon Choi