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Woo Jin Joo’s solo exhibition Bodily Inbetweenness is on view at Ruup & Form in London until Nov. 13, 2026. Her sculptures combine discarded household objects and clothing with embroidered viscose thread, clay and other materials to explore myth, memory and bodily form. Joo is also scheduled to show work at the Harley Foundation in early 2027.
Woo Jin Joo’s solo exhibition Bodily Inbetweenness is on view at Ruup & Form in London through Nov. 13, bringing together sculptures made from found furniture, clothing, textiles, clay and thread. The Seoul-born artist uses discarded objects as starting points for strange, hybrid forms that connect domestic life with ideas drawn from mythology and folklore.
Joo collects items she comes across while walking near her home in London or commuting to her studio in Deptford. The objects include furniture and garments left behind by others. She combines these with materials such as viscose thread, clay and wire, transforming familiar items into sculptures that can suggest animals, bodies or figures in costume. The report describes human-sized works in white and beige fringe, as well as forms that join body parts to domestic fixtures.
Among the works described are For Those Who Wade (2025), an ochre arch paired with suede boots and stainless-steel rod, and Murmur (2025), a totemic leg-like form topped with a wooden table. A Long Long Time Ago (2022) uses old socks, textiles, wadding, embroidery and a steel rod. The exhibition also includes Oneiric Vessel (2025), a two-panel work, and the smaller Shivers, Quivers and Silence (2026).
Joo says objects found by chance can prompt her imagination because they carry histories she cannot fully know. “I am not actively looking for anything in particular, but I discover them by happenstance, and they become meaningful; they provoke my imagination,” she says in the report. It also notes that Joo will have work on view at the Harley Foundation in Nottinghamshire in early 2027.
Discarded Objects Become Sculptural Figures
The exhibition offers a focused view of how ordinary objects can be recast as carriers of memory rather than treated simply as materials. Joo’s use of abandoned clothing and furniture makes their prior lives part of the work’s premise, while leaving the details of those lives open to viewers’ imagination. The sculptures do not provide a single explanation for what the objects mean.
The works also make scale part of the encounter. Joo says some sculptures approach her own height, giving them a physical presence that changes how viewers move around them. In the report, she describes larger works as becoming “fully animated” in her studio after beginning as ideas. That scale can position the viewer in relation to a form that appears part creature, part household object, rather than as an image viewed from a distance.
Joo connects her interest in myth and folklore with her experience of living between cultures. She identifies as Korean-Chinese, describes having been raised between the two countries, and also points to her life in London as an influence on the imagery she develops. The exhibition’s importance lies in that combination of personal and material sources, not in a claim that the works represent a single cultural tradition.
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From Found Materials to Folkloric Forms
Joo’s process begins with encounters rather than a fixed search for specific materials. She says discarded objects can become meaningful after she finds them, but adds that she continues to work from ideas in her imagination when no suitable object turns up. This makes the found material one part of her practice, not its sole source.
The report places the sculptures between the recognizable and the uncanny: a boot can sit beneath an arch, a wooden table can cap a leg-like form, and textiles can cloak figures that seem to wait or stand. Joo says she is interested in how mythology and folklore can offer different ways of gaining knowledge and wisdom. Her works draw on that interest while also responding to the physical objects encountered in her daily life.
Bodily Inbetweenness is the current London presentation of this practice. The report identifies the gallery and closing date but does not provide a full exhibition checklist, opening details or admission information.
““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, as quoted in the Colossal report
Exhibition Details Still Limited
The supplied report does not provide a complete list of works on display, ticketing or visiting information, or details about the exhibition’s programme. It also does not specify which works will appear at the Harley Foundation in early 2027, or give dates beyond that broad timeframe. Those details are not confirmed in the available material.
Descriptions of the sculptures and Joo’s intentions are drawn from the report and the artist’s attributed comments. Interpretations of individual forms as creatures, figures or symbols should not be treated as definitive meanings supplied by the artist unless she has stated them directly.
London Show Closes November 13
Bodily Inbetweenness is scheduled to remain on view at Ruup & Form until Nov. 13, 2026. The next exhibition-related milestone identified in the report is Joo’s presentation at the Harley Foundation in Nottinghamshire in early 2027. The report does not give exact dates or a list of works for that presentation.
Readers seeking practical visit details or updates on the 2027 showing will need to check with the gallery and the Harley Foundation. Joo’s Instagram is also identified in the report as a place to follow her practice, though no specific forthcoming announcement is cited.
Key Questions
Where is Woo Jin Joo’s Bodily Inbetweenness exhibition?
The solo exhibition is at Ruup & Form in London, according to the report.
How long is the exhibition on view?
The report says Bodily Inbetweenness is on view through Nov. 13, 2026.
What materials does Joo use in the sculptures?
The works described combine found objects such as furniture and clothing with viscose thread, textiles, clay, wire and metal. Materials vary by piece.
What is known about Joo’s next exhibition?
The report says Joo will have work on view at the Harley Foundation in Nottinghamshire in early 2027. Exact dates and participating works were not provided.
Source: rss
