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Woo Jin Joo’s solo exhibition, Bodily Inbetweenness, is on view at Ruup & Form in London until November 13, 2026. Her uncanny sculptures combine found furniture and clothing with embroidery, clay and other materials, drawing on folklore, personal memory and encounters with objects. Joo is also scheduled to show work at the Harley Foundation in early 2027.
Seoul-born artist Woo Jin Joo is showing her solo exhibition, Bodily Inbetweenness, at Ruup & Form in London through November 13, 2026. The sculptures combine discarded furniture and clothing with viscose-thread embroidery, clay and other materials, turning everyday objects into strange, often body-like forms that draw on the artist’s memories and interest in mythology and folklore.
Joo gathers objects such as furniture and garments that have been left behind near her home in London or along her commute to her studio in Deptford. She says she does not search for particular things; rather, she encounters objects by chance and imagines what they might become. Their earlier lives and histories become part of the making process, alongside ideas that originate in her imagination.
In the exhibition, human-sized figures covered in white and beige fringe sit or stand in ways that suggest waiting or quiet presence. Other works join body parts to domestic forms. For Those Who Wade (2025), for example, pairs an ochre arch with black suede boots, while Murmur (2025) combines a sculpted leg-like form, ceramic and a wooden table. The materials listed for the works include viscose thread embroidery, textiles, wire, wood and stainless steel.
The exhibition also includes works from earlier years, among them A Long Long Time Ago (2022), made with old socks, textiles, wadding, embroidery and a steel rod. The report describes scale as a central part of Joo’s practice: several sculptures approach the artist’s height, inviting viewers to move around them and compare their own bodies with the works.
Discarded Objects Become Sculptural Figures
Joo’s exhibition offers viewers a way to see overlooked domestic objects as more than material to be reused. In her work, an abandoned garment or piece of furniture can become part of a figure whose meaning is not fixed in advance. That approach connects the physical histories of found things with the artist’s interest in how people make meaning from ordinary encounters.
The sculptures’ size also changes how they are experienced. Rather than looking only at a small object from a distance, visitors encounter works that occupy the same space as their bodies and require them to move around them. Joo says larger pieces feel enchanting to her as they grow from an idea into a presence in her studio. The exhibition makes that process visible through figures that seem part creature, part garment and part household object.
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Memory Across Korea, China and London
Joo describes herself as Korean-Chinese and says she was raised between the two countries. She credits stories and cultural traditions from East Asia with shaping her memory and psyche, while her life in London and physical encounters with objects also generate imagery for her work. She presents these influences as interacting rather than as a single source for each sculpture.
Her interest in myth and folklore is tied to a broader effort to question familiar ways of perceiving things. Joo says the surreal can offer other ways of gaining knowledge and wisdom. The gallery report presents this as the artist’s account of her practice; it does not identify a particular myth as the direct source for every work in the exhibition.
““I am not actively looking for anything in particular, but I discover them by happenstance, and they become meaningful; they provoke my imagination.””
— Woo Jin Joo
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Exhibition Details Beyond the Report
The supplied report does not provide ticketing information, opening hours, the full exhibition checklist or details about whether every work described is currently on view. It also does not specify the exact dates or works planned for the Harley Foundation presentation in early 2027. Joo’s comments explain her own intentions and associations; individual viewers may interpret the sculptures differently.
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London Show and 2027 Presentation
Bodily Inbetweenness remains on view at Ruup & Form through November 13, 2026, according to the report. Joo is also expected to have work on view at the Harley Foundation in Nottinghamshire in early 2027. The source does not give dates or further details for that presentation.
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Key Questions
Where can visitors see Woo Jin Joo’s current exhibition?
Bodily Inbetweenness is at Ruup & Form in London. The report says it is on view through November 13, 2026.
What materials does Joo use in the sculptures?
The works combine found objects such as clothing and furniture with materials including viscose thread, textiles, clay, ceramic, wood, wire and steel. Materials vary from piece to piece.
What influences the artist’s work?
Joo has said her work draws on her Korean-Chinese background, East Asian stories and memories, her life in London, and objects she encounters by chance. She is also interested in how mythology and folklore can offer other ways to think about knowledge and meaning.
Will Joo’s work be shown elsewhere?
The report says her work is scheduled to be on view at the Harley Foundation in Nottinghamshire in early 2027. Specific dates and exhibition details were not provided.
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