One look at any of Cho Gi-seok’s images and it feels like you’re being pulled gently into a dreamscape. Since shifting from graphic design to photography in 2016, the South Korean image-maker has channelled his love for art and his design foundations into a distinct visual language, inspiring a new wave of surreal imagery.
Cho’s relationship with image-making began long before his camera years, sparked by a simple desire to create pictures that resembled the ones he carried in his head. His first studio was a modest one in Seoul’s Euljiro neighbourhood, where he experimented tirelessly: photographing flowers, testing light, arranging props by hand, and slowly forming the surreal language that would define his work. More than simply layering Eastern motifs onto contemporary backdrops, Cho fuses traditional references with futuristic elements, shaping an otherworldly universe that folds Korean cultural cues into digital textures in ways that speak directly to the emotional terrain of this generation.
That world comes into focus in The Coexistence of Imperfection, his first major solo exhibition at Fotografiska Shanghai, which brings together series such as ‘Flower Study’ and ‘Bad Dream’ alongside later works like ‘Love & Hate’ and ‘These Days’ to trace how his imagery has deepened over time. In his famed ‘Flower Study’, he begins by photographing individual blooms, then seeks out human subjects whose posture or makeup echoes the flowers, collapsing the distance between body and botany into a kind of natural symbiosis. That same approach carries into his moving-image work, in music videos for global acts such as XG’s ‘Woke Up’, Jennie’s ‘Zen’ and Kali Uchis’s ‘I Wish You Roses’, where he melds each artist’s sonic identity and style into his own artistic register. Lately, he has been testing how far these ideas can travel beyond the image, first through a fashion brand and now through CGS, his perfume line, where scent becomes another medium for his ideas. As he describes it, working with fragrance offers a different kind of creative freedom, allowing people to experience and interpret it in their own way, a possibility he finds deeply compelling.
Here, the creative visionary speaks to Vogue Singapore about his exhibition, the instincts that guide his oneiric imagery, and the shifting inner landscape behind his work.
Could you share with us more about The Coexistence of Imperfection. Why did you choose this curation in particular and what was the preparation process like?
Fotografiska Shanghai reached out to me first. I had worked with Fotografiska before, but this was my first photo exhibition in Asia, so I appreciated the opportunity and was grateful to accept it. I shared the works I wanted to present, and we shaped the themes and prepared the exhibition together through ongoing discussions with their team.
Your work often evokes a distinct sense of surrealism, almost like you are visualising a dream. Could you walk us through your typical creative process?
The themes or emotions I want to express often come to me in everyday moments, so I make notes whenever they surface. From there, I use the act of shooting to translate those thoughts and feelings into something more dramatic and fully articulated.
You’ve built this creative universe over many years. How has your work evolved since you started and what challenges have you had to overcome?
In the beginning, I was fascinated simply by the act of creating images. Seeing all the incredible work out in the world made me want to try those things myself. Over the past few years, as I started to feel that the visual techniques had become more instinctive to me, I found myself wanting to use those skills to express my own ideas and interpretations in a way that felt true to my sensibilities.
One of my biggest challenges was finding a balance between commercial work and my personal projects. When commercial shoots piled up, there were moments when, even after everything wrapped, I found it difficult to remember what I wanted to create for myself. But thankfully, I’ve continued my personal work over the years and many clients now respect the way I approach those projects. Because of that, even in commercial settings, I’m often able to shoot in a way that feels like a natural extension of my creative language. These days, the line between personal and commercial work has almost disappeared and every project feels more enjoyable and meaningful to me.
In that same vein, what is one lesson you’ve learnt about yourself or your creative practice along the way?
Even when something feels difficult to express or the process becomes challenging, I believe there is always something to learn from every shoot. So whatever the circumstance, I try to attempt at least one more thing and take whatever insight I can from the experience.
You’ve worked on music videos with artists like Jennie, XG and Kali Uchis. Please tell us what was involved in bringing your visual universe into theirs and what was that overall experience like for you?
My approach varies depending on the artist. For someone like Jennie or Kali Uchis, who have distinct personal styles, I share ideas for looks, hair and make-up, but I ultimately place a lot of trust in their own direction. With XG, the process is different. There’s a strong mutual desire to explore new territory, so I often propose many new styling concepts and they bring them to life incredibly well. We also spend time discussing their songs, the concept for the project and the direction they want to take. From there, we develop the hair and make-up together in a way that best expresses those ideas.
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What first drew you to start ‘Flower Study’ and how did you go about pairing each person with a flower?
I usually work on projects that require a significant amount of planning. But ‘Flower Study’ was different. Instead of going through a long conceptual process, I started by photographing flowers and then intuitively matched each image with the person who felt right for it. That spontaneity was refreshing, and it allowed me to create and express myself in a way that was relaxed and free.
Your unique visual language has been given the title of New Asian style, combining traditional motifs with futuristic elements. You’re also known for playing with contrast in your work.
I believe that contrast between different elements can create an entirely new sensibility. That’s why I often work with motifs where seemingly incompatible things coexist, and I build my visuals around the tension and freshness that come from that contrast.
Outside the studio, what are some small, ordinary things in your everyday life that feel like art to you?
Sometimes I come across plants or flowers growing through cement or between bricks—places where growth seems almost impossible. Moments like that give me a quiet sense of inspiration in my everyday life.
“I often work with motifs where seemingly incompatible things coexist, and I build my visuals around the tension and freshness that come from that contrast.”
Do you have a favourite project that feels especially meaningful to you?
The project that stays with me the most is Jennie’s ‘Zen’ music video. After its release, many people began to speak of me more as a music video director than as a photographer, which was a noticeable shift from how I was usually described. I had long been known primarily for my photography, so experiencing that change in how people perceived my work felt new and meaningful. That’s why the project remains particularly special to me.
How do you feel about today’s evolving image technologies and how they’re reshaping image-making?
I feel both a sense of awe and intimidation when I look at the current technological landscape. As the world changes so quickly, I’m constantly reflecting on what I can uniquely contribute within it, and trying to understand where my strengths can still speak for themselves. At the same time, I’ve been finding ways to integrate these new technologies into my practice so they become a natural part of how I create. I believe the overall concept and intention behind a work must come directly from a human mind and hand.
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What does art mean to you today?
For me, art is about creating something that can give people a moment to think or feel. If my work offers even a small space for reflection or emotion, then I believe it has done its job.
What would you like to explore next?
I’ve spent many years directing temporary spaces, like sets, that exist only for the duration of a shoot. Recently, though, I’ve become more interested in designing and shaping spaces that people can experience over time, such as architecture or interior environments. I’m also thinking about how I can expand my role as a creative director and explore what more I can do within that broader field.
Vogue Singapore’s January/February ‘Art’ issue is out on newsstands and available to order online now.
