I had the pleasure of encountering Minji Choi within the creative confines of Guglielmo Poletti’s studio. As our conversation unfolded, I found myself immediately captivated by Minji’s projects and her inspiring artistic journey. Perhaps it was the shared experience of residing in the Netherlands that initially piqued my interest, but it was undeniably our mutual passion for nature and its intertwining socio-political narratives that truly resonated with me. Having spent a part of my life in the Netherlands, a country celebrated for its deep-rooted connection with nature and innovative approaches to societal challenges, I felt an immediate kinship with Minji. This common ground laid the foundation for a conversation that promised to be as enlightening as it was inspiring. In the following exchange, Minji Choi graciously shared her experiences, perspectives, and future aspirations as a visual practitioner and researcher, shedding light on her unique artistic trajectory and the profound ethos that fuels her work.

Simone Lorusso: Hi Minji, art often reflects the artist’s identity and beliefs. Can you share a bit about yourself—your cultural background, experiences, and values—that shape the themes and
direction of your artistic exploration?

Minji Choi: Hello Simone, I want to express my sincere appreciation for this opportunity to delve into a topic that holds immense relevance in our contemporary lives. I am of Korean descent and pursued a Bachelor’s degree in Fine Art, specializing in traditional Korean painting, alongside Philosophy. In traditional Korean painting, nature stands as the cornerstone, as landscape art reflects human perception and ideology through the lens of nature. Interestingly, the portrayal of nature through landscape paintings not only influenced how we perceive actual natural
landscapes but also redefined the landscapes themselves. This intricate interplay fascinated me deeply, solidifying my interest in nature, particularly as depicted in paintings of landscapes.
Subsequently, during my Master’s program at Design Academy Eindhoven in the Netherlands, my focus shifted towards investigating the specific relationships between human-crafted nature and societal structures through research-oriented projects. As I delved deeper into these connections, I began to comprehend that the perspective on nature is an intricate tapestry woven from heterogeneous layer encompassing socio-political, ecological-ethical, and cultural viewpoints.

SL: How do you adapt your artistic approach based on the cultural and geographical contexts of Eindhoven and Milan, where you are currently based?

MC: Currently, I shuttle between Milan and the Netherlands, and I find that my sense of identity slightly shifts between the two countries due to various factors tied to my personal life and cultural influences. Each place presents distinct opportunities and constraints that impact me on a personal level. In the Netherlands, the robust cultural funding and support for artists and designers foster sustainable careers, even for foreigners like myself. This environment has empowered me to undertake diverse experimental projects that challenge societal perspectives within institutional frameworks. It’s been a fertile ground for exploring socialscale thinking through these innovative endeavors. Conversely, while in Italy, my focus pivots more towards individual artistic practices such as painting, delving into inquiries surrounding subjectivity within the context of landscapes. I view this transition as a valuable chance to embark on self-referential studies, uniting my past research while stepping away from a sense of complacency within a specific comfort zone. Navigating these divergent identities can at times leave me feeling conflicted and perplexed, demanding a considerable amount of effort and mindfulness to maintain awareness and balance within myself. I’m currently in a phase of observing this complexity, seeking understanding, acceptance, and integration of these two distinct identities.

SL: How do you approach the integration of different media like installation, photography, painting, and drawing in your work to explore the complexities of our society?

MC: Often, research-based projects rely on case studies that reflect specific cultural, geopolitical contexts, and factual scientific information. Given the complexity inherent in such narratives, there are limitations when attempting to encompass a vast array of research within a single medium or project. To address these challenges, I’ve experimented with various mediums in recent years. Opting for a specific medium enables me to contemplate the aesthetic relationship with the narrative being conveyed. Concurrently, I break down overarching themes into simpler, more focused subjects, each aligned with a suitable medium. This approach allows me to generate diverse visual outcomes. As these works accumulate, they form an organic structure that references the intricate nature of the topics under scrutiny.

SL: In your artistic endeavors, is there a specific project that holds a special place in your heart due to its impact or the journey it took you on? Could you share the story behind this project and how it has shaped your approach to art and research?

MC: The (NON)Native project holds a particularly significant place for me, as it unveiled a realization I had previously overlooked – that my supposedly objective projects inadvertently mirrored my own identity by drawing parallels from others’ narratives. Sometimes, recognizing simple and obvious aspects of oneself can be quite challenging. To provide a brief overview of the project, (NON)Native stems from a case study exploring the transformation of the American Black Cherry (Prunus Serotina) in the Netherlands. Introduced in 1740, this tree has undergone a remarkable shift in identity, transitioning from a prized species to an Invasive Alien Species. The evolving societal perspectives on nature, encompassing political, economic, and aesthetic dimensions, have consistently influenced the valuation of the Black Cherry. During my study of the Black Cherry, I found a strong resonance between its narrative and my personal experiences, leading to a deep empathic connection. Engaging in this project allowed me to embrace my subjectivity in approaching social-ecological themes. It played a pivotal role in dispelling my self-doubt regarding my authenticity in engaging with the subject matter as a detached observer.

SL: The relationship between humans and nature is evolving rapidly. Given the global challenges related to climate change, biodiversity loss, and urbanization, how do you see the role of art and artistic exploration in influencing this relationship, especially in the context of your research?

MC: The issue of Invasive Alien Species (IAS) stands as a crucial testament to human-induced climate change, biodiversity loss, and the effects of globalization. Typically, species categorized as IAS carry negative connotations, often perceived as inherently detrimental. While it’s undeniable that some introduced species can indeed cause harm to native ecosystems and economies, there exists a critical oversight in our understanding. Living organisms, regardless of their origins, strive to survive and thrive within their environments. The creation of conducive environments by human societies inadvertently supports the proliferation of these species. Global trade and tourism play significant roles in the unintentional or intentional transportation of IAS across continents. Moreover, the reduction in biodiversity due to monoculture plantations, deforestation, and other human activities provides these species with opportunities to rapidly expand and dominate ecological niches, as there are fewer natural competitors to check their growth. Additionally, the considerable impacts of climate change weaken existing ecosystems, facilitating the adaptation of certain IAS to new environments. In my projects, I aimed to delve into the intricacies surrounding the IAS issue, seeking a comprehensive approach that fosters a discourse on coexistence rather than outright rejection or elimination of these species from what seems like ‘pristine’ natural environments. Particularly, I found visual communication in journals or nature conservation that often frames ecological matters within a dichotomy of good versus bad or native versus non-native to be intriguing. However, such images, if ingrained in our daily lives, may intensify our subconscious perception of nature, fostering binary thinking.
The portrayal of nature in black-and-white terms through these images does not offer solutions to ecological challenges nor improve our relationship with nature. To challenge this perspective, I recontextualize these sentimental yet banal images into political inquiries, aiming to deconstruct these polarities and foster a more nuanced understanding of ecological complexities.

SL: Education is a powerful tool for transformation. Looking ahead, do you envision sharing your knowledge and expertise in workshops, talks, or academic settings to inspire budding artists and researchers to explore the intricate relationship between plants and society?

MC: I concur with your sentiments. If my research could contribute to interdisciplinary interventions encompassing art, ecology, and philosophy in any context, I would be delighted to engage in educational roles as a mediator. Given the opportunity to lecture or present, I often share my artistic research and methodology, which revolves around an inquiry into ecology, ethics, and aesthetics concerning nature.However, when it comes to specifically influencing or drawing society’s attention to the intricate relationship with nature, I hope that it occurs organically through my artistic work rather than being confined within the framework of formal education. I believe that the process of inspiration is deeply personal and subjective. Moreover, I’ve come to understand that meaningful learning primarily evolves through self-reflection and the analysis of one’s thoughts. Hence, I’ve developed a greater interest in educational practices that involve active dialogues aimed at stimulating and nurturing individuals’ capacities, rather than solely delivering informative lectures or talks. Understanding that nature serves as a reflection of one’s perspective, I aspire to structure a curriculum that encourages students to explore themselves within the realm of nature-related topics. This curriculum would aim to help students discover their unique methodologies in visualization and research, fostering a deeper understanding of their relationship with nature.

SL: In conclusion, what projects or themes are you eager to explore in the future, and how do you envision your work evolving in the next five years? Are there new mediums or approaches you plan to incorporate to your research?

MC: As I mentioned earlier, painting has now become the focal point of my artistic pursuits. I am truly delighted to have returned to the practice of painting after numerous experiments with various mediums, all while exploring nature-related themes. Over the past decade, I embarked on a profound journey to refine my vision and discern my artistic medium, identifying my personal strengths within it. Looking ahead over the next five years, I am planning to unveil my inaugural solo exhibition featuring a series of landscape paintings. My ongoing project delves into the intricate interplay between reality and the abstract essence of nature. This project employs ready-made photography primarily sourced from landscape architecture magazines. The methodology involves active intervention in the white spaces of these photographs, reevaluating them by concealing their temporality and spatiality. The fragmented photography pieces, bereft of their original context, are interconnected and extended, ultimately forming a new abstract landscape. Upon completion of this work, I aim to continue experimenting, building upon this foundation with a series of transformative projects in the years to come. While nature inherently lacks its own symbolism, I am intrigued by the pursuit of conceivable meanings within nature and the analysis of its symbolism. I view art as a unique set of survival methodologies devised by humans within the realm of nature. Distorting existing elements, envisioning alternate facets, discerning ambiguous significances, and crafting narratives are distinctive activities of human beings compared to non-human species. Engaging in questioning the connotations generated by these activities, while navigating through the trajectory of confusion, enables us to actively exist within nature, rather than merely reacting to it.

SL: Thank you very much, Minji Choi, for generously sharing your vision. I personally look forward to witnessing the evolution of your work. Best wishes for all your future endeavors.