Sohee Goo is a visual artist based between Seoul and London, working across photography and installation. Her practice draws from East Asian aesthetics and philosophical inquiry, meditating on the nature of perception, value, and interpretation

Using ordinary yet symbolically charged objects—most notably the egg—Goo constructs quiet yet profound reflections on life. Through repetition and nuanced variation, she elevates the mundane into the poetic, inviting contemplation on fragility, transformation, and the cyclical nature of existence.

Alongside this, she engages with natural imagery, digitally transforming and distorting it into three-dimensional forms. These manipulated landscapes question the boundary between the real and the artificial, disrupting familiar perspectives and challenging fixed ways of seeing.

A recurring thread in her work is the simple yet disarming question: “What do you think?” In posing this, Goo turns the viewer’s gaze inward, encouraging not just interpretation, but an awareness of the very act of interpreting itself.

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Contact 
goosoheegoo@gmail.com
@goosoheegoo










Work
01.92025 

<ESC.> series

A story about the love that surrounds me. When I asked myself what love is, this is the answer: We are all imperfect, and true love begins when we fully accept that imperfection.


<I know you love me, but>, Frosted acrylic and silicone, 6.5 x 5 x 50 cm


<Imperfection is perfection>, Digital C-Print, 100 x 120 cm

<I know you love me, but>, Inkjet print and frosted acrylic mount, 18 x 50 x 10 cm
<I know you love me, but>, Inkjet print and frosted acrylic mount,  Variable dimensions

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<I know you love me, but>, Inkjet print and frosted acrylic mount, Variable dimensions
<I know you love me, but>, Inkjet print and frosted acrylic mount, 12.5 x 18 x 4 cm, 18 x 50 x 10 cm
<I know you love me, but>, Inkjet print and frosted acrylic mount, 7 x 1 0 x 5 cm





02.Point, line and plane

2024

<ESC.> series

This series explores the fundamental geometric principle of "point, form lines and expand into planes. This abstract representation conveys interconnectedness and existential meaning through fundamental artistic elements.

The blurry black-and-white images initially make it difficult to immediately recognize the objects. The points of connection are also vague, leaving it unclear whether multiple objects are linked or are not linked. Ultimately, the objects are shown to be related and connected, with some photographs even appearing to overlap. Through this, the work suggests that all of our experiences—whether intentional or not—are ultimately interconnected, and together, they shape who we are.









03.Stability - Instability
2023

<ESC.> series

The egg, being symmetrical without a defined top or bottom, can appear differently oriented depending on one's perspective. For example, to perceive the egg as stable, one might expect the pointed end to be at the bottom, but from another viewpoint, the pointed end might appear more stable at the top. 

Thus, the interpretation of the photograph varies according to individual perspectives, resembling the artist’s perception of the boundary between stability and instability, where things without a clear top or bottom can feel stable or unstable depending on one's viewpoint.


<Stability-Instability>, van dyke brown on paper, 15 x 20 cm

<Stability-Instability>, van dyke brown on paper, 42 x 59 cm
<Stability-Instability>, van dyke brown on paper, 42 x 59 cm
<Stability-Instability>, van dyke brown on paper, 42 x 59 cm
<Stability-Instability>, van dyke brown on paper, 42 x 59 cm
<Stability-Instability>, van dyke brown on paper, 42 x 59 cm
<Stability-Instability>, van dyke brown on paper, 42 x 59 cm





04.E
2022

<ESC.> series

What do you think about it?

When viewing artworks, I hope that observers escape the act of seeking the correct answer or the inherent appearance of the object and instead project their own perspectives onto the photograph.


<E>, Gum Bichromate on paper, 48 x 40 cm





05.

Tectonic Slience:  A visual study of subratic terrain
2025 


Collaboration Self-Publication 
with Yinyan Jin

























06.

Part of part
2019 


Collaboration Self-Publication 
with Yinyan Jin

part of part : Exploring Individuality Within the Collective Whole

This project originated from the idea that we are all integral components of nature, 
with each person being drawn to different parts compared to others.






























Exhibitions
01.Five elements

2025 

selected exhibition
Hockney gallery, London

the exhibition Five elements, inspired by the concept of the Five Elements in traditional East Asian philosophy, explaining the phenomena and transformations of the world and human life. Each element — Wood, Fire, Earth, Metal, and Water — carries distinct energies, yet interacts to create harmony. Similarly, the works of five artists from diverse backgrounds and artistic languages are connected in an organic flow, breathing together. Within this rhythm, we can feel the growth of Wood, the transformation of Fire, the harmony of Earth, the fruition of Metal, and the inclusiveness of Water, gently inviting us to reflect once again on the idea of balance and interconnectedness.

Perhaps, in this way, we too seem like different beings, but aren't we all connected as one?



Curator
Heeyoon Jung

Artist
Anyi Ji
Demi Danka
Hyunjee Kim
Ross Deeley
Sohee Goo






02.O

2025 

group exhibition
Side studio, Royal College of Art, London

“O” is a multidisciplinary meditation on spheres, cycles, and the transience of natural forms.

More than a shape, "O" embodies paradox—fullness and emptiness, origin and dissolution, the cosmic and the intimate. "O" invites us to reflect on impermanence and our ephemeral place within nature’s eternal rhythms.



Sohee Goo 
Jose Cardenas
Yihan Pan






03.Axis: Drooping and Rising Again


2024

Duo exhibition
LCDC Seoul 3F Doors, Seoul

Shaped by environmental and genetic factors, our emotions may sink into an endless abyss, drift weightlessly into the air, change direction faster than the speed of light, or vanish before we can even locate where they are.

Perhaps we are wandering within an orbit of emotions that circles endlessly in every direction. This exhibition begins with a question: Before we are swept away and lose ourselves forever in this phenomenon, might we need a central axis to which we can return?

Because the spiraling orbit of emotions cannot be precisely measured, Goo Sohee maps its pull and release through persistent observations of the egg, exploring countless perspectives that define both instability and comfort. Meanwhile, Ahn Shinwoo weaves nets through repetitive bodily gestures, casting them into the swelling river of anxiety to retrieve moments of steadiness—together charting the orbit of emotions that droop from and rise back toward the axis.



Sohee Goo 
ShinWoo Ahn