Joy Baek is a Korean artist based in Glasgow and London, whose primary mediums to work with are sculpture, performance, and a combination of them, namely, Performative Sculpture.

My prime form in practice is Performative Sculpture, which features the co-existence of dynamic and static vibes emerging through the intertwined display of sculptural and time-based elements.
The time-based elements are appearing either as a performance or as the use of materials whose exterior features change responding to time, such as latex and gelatine. This method highlights my interest in visualizing the concept of being pliable and rigid at the same time, which has emerged from my belief that the virtue of using artworks to chart our lives allows for gaps and spaces we can fill with actions, thoughts, and conversations.
My artwork has mainly addressed unspoken social issues of otherized communities with a critical view, which ultimately aims to elicit audiences to associate with their stories and emotions.
My current research has evolved from the narratives of the specific target group, the elderly prostitutes in Korea (the so-called Bacchus Ladies) to the precarity of the elders with a focus on housing issues and occupational aspects. While elaborating the precarity of the elders, I have sought to manifest the resilience of the elders as parents by borrowing the imagery of the symbolic flower, Pulsatilla Koreana (the so-called Grandmother flower), from the Korean folklore that highlights the sacrifice and unconditional love of an elderly mother for her daughters.
I deem my work of creatively escalating socio-cultural issues in Korean society as an act of recording the history of our times through my artworks as shedding light on the lives of minorities and socially excluded people.