Interviewer and Editor: Prachi Vaid (Delhi, India)

Meet Jay Choi, a contemporary artist based in South Korea. She’s known for capturing wind through emotions and nature-inspired elements. She paints vivid landscapes, often relying on her senses to guide her brushstrokes. She graduated from Hongik University, majoring in printmaking, and then gradually shifted towards contemporary art, exploring themes of isolation, resilience, and inner stability. 

In this interview, we sat down with Jay Choi to better understand her artworks, her inspiration, and her guidance for upcoming artists.

Could you please introduce yourself to the people who are new to your work?

Hello, I am Jay Choi, a contemporary artist based in South Korea who captures human emotions through the elements of wind and nature. I do not use sketches; instead, I rely on improvised brushstrokes to bring the invisible flow of the wind to life on the canvas. My work is a process of recording deeply personal and subjective emotions, aiming to offer a sense of comfort to those who encounter it.

Across all your paintings, “wind” has been the core inspiration of all. Do you see wind more as a physical force or as a metaphor in your paintings? 

To me, wind is both a metaphor for life’s journey and a guiding force. Initially, it represented the difficult times I endured, such as my battle with cancer. Now, it symbolizes the wisdom of conforming to situations that unfold differently than planned and surrendering myself to the natural flow of life. The direction of the grasses or reeds in my paintings is determined in the moment, much like the unpredictable facets of life.

You have graduated in printmaking and pursued the same for a long time, with vintage elements incorporated in your work. (Referring to “The Ventilation”). What made you change your artistic flair from printmaking to more nature-driven contemporary art?

The turning point was a trip to Jeju Island during my recovery from cancer. I was struck by the sight of trees and silver grass lying sideways, shaped by the sea breeze; they seemed to contain the wind itself. Rather than grand social discourses or rational logic, I felt a calling to focus on the individual interior and create work that is personal and emotional.

In your interview with Artistalk, you said you were inspired by the sea breeze when you visited Jeju Island, and among other things, you saw a house standing still and strong. What does the house symbolise in your paintings? Is there any other element you would like to explore or add to your paintings?

The lone house standing firm against the constant wind symbolizes the “self” that has endured hardships. It serves as a destination for my emotions—a shelter, a refuge, and a sanctuary. Currently, I am exploring how the meanings of the wind and the house can expand to reflect the ever-changing aspects of life rather than being confined to a single definition.

You’ve been part of many major international exhibitions, such as EXPO Chicago, Abu Dhabi Art, Zona Maco, and Art SG. How have these experiences changed your journey so far?

These experiences confirmed that a deeply personal narrative can evoke universal empathy. It strengthened my resolve to remain an artist who looks inward and offers comfort through sincerity, rather than being swayed by loud or grand narratives of the world.

Has a question from a viewer or a collector ever changed how you understand your own work?

Rather than a single question, it is the collective response of people finding deep consolation in my subjective records that reaffirms my path. It has taught me that the most personal work can be the most universal, encouraging me to continue my role as an artist who consoles others’ hearts.

Most of your artworks are titled “The Sanctuary” and “Your Forest,” followed by a number. What’s the reason behind naming all your art pieces the same and only changing the number at the end? 

I want my work to function as a “sanctuary” or a “forest” where viewers can look into their own hearts and find rest. Using numbers to distinguish them reflects that each piece is a continuous record of my life, like a visual diary, and a manifestation of my internal feelings at a specific point in time.

In all your travels from around the world, what country or place has inspired you the most?

Jeju Island has been my greatest inspiration. It was there, amidst the sea breeze and resilient nature, that I found the visual language for my current series. Even now, whenever my passion feels depleted, I return to Jeju to receive new strength from its ever-changing landscape.

How do you visualise something intangible like wind before you paint it, and what techniques in your medium help you translate that internal vision onto the canvas?

I rely entirely on the senses of the moment through unplanned brushstrokes. I repeat the process of drawing and erasing the wind countless times before the pigment dries. This repetitive act allows me to focus entirely on the flow of my inner emotions, leaving the brushwork as a record of the “sound” rising from within.

Has there ever been a moment as an artist where you got inspired but were somewhat not able to paint it/ incorporate it in your paintings? How do you deal with such confusion?

Because my work is improvisational, the “wind” on the canvas often takes a different direction than what I initially imagined. I no longer see this as confusion; instead, I accept it as the wisdom of life—adapting to unplanned situations and flowing with them, just as I do in my own life.

How has your work evolved over the years, or how far do you think you have come versus when you started as an artist? 

My work has shifted from the meticulous techniques of printmaking to a more intuitive, process-oriented practice. Over the last five years, the symbols of the wind and the house have evolved from representing personal trauma to reflecting the broader, more fluid nuances of daily existence.

Is there any artist or any specific piece of art that you admire or has shaped your approach?

I have a profound admiration for Edvard Munch; his expressionist tendencies and the way he interprets color through emotive brushstrokes have deeply influenced my work. I am also greatly inspired by Alex Katz’s modern sensibilities and Edward Hopper’s ability to capture solitude and light. These masters have guided me to focus on the canvas’s emotional resonance.

What message would you like to deliver through your artworks/art style to our audience?

I hope to remind people that even in a world that is too loud and complex, everyone can find their own quiet “sanctuary.” I want my art to tell them that their hardships are simply one facet of life and that there is a place of stability and peace waiting within them.

To all the aspiring contemporary artists who are trying to capture fleeting moments and feelings, what advice will you give them?

I would suggest learning the wisdom of surrendering to the flow when things do not go as planned. Rather than calculating the outcome, trust your senses and listen to your inner voice. It is the most personal and subjective work that often resonates most deeply with others.

When can your fans expect your new artwork to be shared with the world? Are there any exhibitions you’re looking forward to joining?

I am currently immersed in creating new pieces, continuing my series on wind and houses for the fifth year. My most immediate upcoming schedule is Art Busan 2026 this May, where I will be unveiling my latest works. Following that, I am also diligently preparing for Kiaf SEOUL 2026 in September. I look forward to sharing the more profound “textures of the wind” with my audience.

Once again, we would like to express our heartfelt gratitude for your precious time and for sharing insights about your journey. Thank you so much. On behalf of the entire team at Hallyuism, we wish you all the best for your future projects and lots of love from India!

We hope you all loved reading this interview as much as we loved conducting it. Let us know your thoughts in the comments!