It was in 1999 that Choi started studying the craft of jogakbo, after she reached her mid forties. In 1999, she became a student at embroidery master Kim Hyun-hee’s “Traditional Craft School” and in 2000, finished a natural dyeing course at the National Museum of Korea. . Jogakbo traditionally employs leftover fabrics, but jogkabo as a contemporary craft can evolve into an art of a higher dimension by using beautiful fabric. Without learning the strengths and weaknesses of different materials, one cannot become a good craftsman. In short, one should obtain good command of the nature of materials. As such commenced Choi’s research and exploration of material. There lies in our traditional fabrics such as Hansan ramie, Andong hemp, or Sangjoo silk, our unique sentiment that no luxury brand is able to portray. In regards to pigment, it is not through chemical paint but with indigo (blue), safflower (pink), gardenia seeds (yellow), persimmon (grown), mugwort (green), onion (orange), or ink (black) that the fabric should be dyed in order to convey the true sense and feel of it. She also learned that in order to get the right chroma and brightness that meets her taste, she had to dye the fabric herself, accordingly to each specific season and terms of fermentation. Choi’s jogakbo conveys the artist’s own colors only because the production was accompanied by such laborious trouble.

The critical formal aspects of producing a jogakbo as a piece of art are its geometric composition and layout of colors. From here on is a matter of not craft, but art. A jogakbo artisan shall be able to learn a lot from traditional jogakbo and deem it a canon. Today’s jogakbo craft is deeply related to contemporary art, and in particular, abstract art. To calculate the date of origin, traditional jogakbo precedes geometric abstraction, but in terms of accomplishment as a contemporary art, it would be right to say that geometric abstraction has achieved more. And to absorb that achievement and lead jogakbo into another dimension of craft art cannot but be the artistic mission and task of a contemporary jogakbo artisan.

“I think that jogakbo cannot but, and should, convey Korean beauty. In terms of what Korean beauty is, I found the answer in the words of Kim Bu-sik describing the castles of Baekjae in The Chronicles of the Three States. “Humble but not shabby, fancy but not extravagant”, he said. I believe these words best portray Korean beauty, and I pursue such beauty.”

It is actually impossible and insignificant to analyze the artistic achievement of jogakbo craftsman Choi Dukjoo in the manner of analyzing an artwork. Rather than discussing her composition skills and color taste in each piece, we can more efficiently enjoy her jogakbo works as we discuss the material, the fabric, and her design sense or taste of using it. Because this is craft, it will never force upon the viewer any artistic tension. Gorgeous. Pretty. Adorable. Monotone and yet fancy. I like that it’s fancy, but not outstanding. I like it even better that its composition is simple. In such a manner, we will be able to spend some pleasant time with Choi’s third jogakbo exhibition. Surely, would not that be enough.
Yoo, Hong-june (Art Critic, Former Administrator of the Cultural Heritage Administration)