Interview with Artist Ga-Ae
Looking around everywhere, it was just so beautiful. What struck me most was how people enjoy colours. In Belgium, even older people just wear vibrant colours like hot pink and bright yellow. That brought me great comfort and joy.
I make collages moving freely across the various realms of artistic expression, while not restricting my work’s medium or format.
I have worked on four picture books, including a (baby) picture book, and have held four solo exhibitions. Therefore, I also have art in the form of paintings and books.
To start with my most recent work, this project is a baby focus book designed to connect multiple scenes into a single narrative. Its distinctive feature is its folding screen book format, rather than conventional binding.
So regardless of the medium, does this mean that a collage is always the point from which your work then develops?
Yes, regardless of the resulting medium, whether a book or postcard, my work consistently develops based on collages.
My work notebook is a project in progress, currently in its eighteenth iteration. But as I am not particularly meticulous, I myself do not keep a daily journal. I find working according to a set routine or track uncomfortable: I find that I achieve better results when I work in bursts. I know it is important to keep a daily journal, but I cannot always maintain that rhythm. I think that is part of my work style.
This book was the first I ever worked on. At the time, I would say "Hello, hello," to Woojin (the artist's son), and he would smile brightly. His reactions were so touching. When I drew simple, meaningless objects, and read out their names, he would burst into laughter. One day, I casually drew these objects in a small notebook and posted them on Instagram, and the post then led to a publishing offer. That became my first book. I had long wanted to write a book, but thanks to Woojin, I debuted as a picture book author, and around that time, I began to gain recognition as a collage artist. I think Woojin's birth has had a significant impact on my overall work.
Are you currently focusing on children's books?
I have been an illustrator for about ten years now. However, after such a long time of mostly adding my illustrations to other people's writing, I constantly struggled with thoughts of what could truly represent me. That is when I felt myself internally retreating from drawing. There even were some quite difficult times when I felt like quitting altogether.
However, after having a child, the direction of my work changed dramatically by 180 degrees. This change did not come from any certain desire or plan to become a "collage artist." I simply took out coloured paper and scissors to play with my son, Woojin, and the time we spent playing together naturally led to my artwork.
It was around that time that I attended a book fair and the booth right next to mine happened to be of a publishing company called Danchu Press. And just by chance, after getting to know each other as neighbours, I received an offer for a publishing contract. While the project was more of a collection of works than a book, I also put together a small folding screen-style book to register as a publication. While technically it is registered as a book, the starting point of the artwork was still play and experimentation. That is how my first published work came to be.
There are many collage artists, but one of the most impressive aspects of your work is that you create the paper yourself. And you use this paper as coloured paper to create collages?
Because collage work requires large cross-sections, and most paper comes arranged by size, rather than strictly categorized by colour. Collages often cover large areas, which can easily lead to monotony. To break this up, I needed to add many colours within a single sheet of paper. The process of cutting and pasting the paper creates natural depth and layers. I am very particular about the density created by the material's properties.
Looking around everywhere, it was just so beautiful. What struck me most was how people enjoy colours. In Belgium, even older people just wear vibrant colours like hot pink and bright yellow. That brought me great comfort and joy. Although my time there was not very long, I saw many scenes that resonated with the aesthetics I had always cherished. So, I naturally saw, felt, and absorbed them without even consciously thinking about it. Those accumulated sensations still remain visible in my work to this day.
Fortunately, I became friends with a Korean illustrator working in the city where I was staying, and this gave me the opportunity to attend local exhibitions and meet the artists in person. At the time, I had almost been burnt out, working too hard just like I always used to in Korea. So, the attitudes of the artists I met at the exhibition were quite shocking. Many of the artwork looked rough, as if they had been just pasted straight onto the wall without any finishing touches, but the artists spoke freely about their work and seemed to just enjoy the very act of creating. In Korea, we would always work under the pressure of having to do an excellent job. This contrast struck me even more. That experience, along with the realization that "this is how it's supposed to work," became a pivotal moment in my approach to my own work.
Another striking aspect I experienced in Europe was the culture of "rest". On holidays, shops would close, and people would naturally pause and spend time together. The way festivals and holidays became a part of everyday life was in stark contrast to my previous full-on ‘nonstop’ life in Korea. Observing this, for the first time ever I thought, "living life like this is okay." And that relaxed attitude seems to have permeated my work since then.
I still thoroughly go about completing my artwork, but I now hope it conveys a more distinct sense of having been created through play with a child, rather than through over-exaggerated efforts. So, when looking at my paintings and books, my is hope viewers will feel a little more at ease.
Having my son, completely changed my work. I became a picture book writer, and all the books I have published so far are stories that naturally emerged from the process of raising a child. To that extent, my child becomes the centre and starting point of my work. For me, Woojin is so to speak my first reader to whom I am the most devoted, the one person I wish to persuade and show things to the most. All my books have been written alongside Woojin growing and developing, and I am excited to see what books he will write in the future. I believe Woojin has had the greatest influence on my work.
The reason my studio ended up near Namsan was purely a coincidence. While looking for a home, I came across a space online. I liked it, and when I visited in person, I discovered this neighbourhood for the first time. Although I had studied in Seoul for a long time, I had barely known about this area before. Upon arriving, I realized that despite being in the heart of Seoul, it retained a strangely old neighbourhood feel. The abundance of families and students gave it a sense of life. The distance from the downtown area was just right, and most importantly, the fact that Namsan is visible whenever I turn my head is just remarkable.
Looking back, I realized I have always lived near mountains. In Daegu, I lived near Apsan mountain or Palgongsan mountain, and I think environment gives me a greater sense of stability compared to a waterfront. The feeling of being able to walk into the forest or mountains at any time, and the comfort that comes from that proximity, were key factors in choosing my current work environment.
My family has a favourite spot on Namsan. If you walk up from the library toward Namsan Tower, at the end of a side path that does not go all the way up to the tower, you will find a Hynobius nebulosus salamander ponds. This endangered species reserve offers a close-up view of frogs and salamanders laying eggs and moving about. As you follow the deck into the forest, you feel transported to a completely different place, even though you are in the heart of Seoul. You can see the outline of the city in the distance, but at the same time, you feel completely immersed in the forest. I often visit this spot when I need to catch my breath while working. It is my personal favourite place, it creates a rhythm of walking, resting, and then returning to work.
The most important criteria for me when choosing a home are proximity to a library and swimming pool. In that sense, being within five minutes of my home, including the Namsan Library, Yongsan Library, and the Goethe-Institut Library, is a tremendous blessing.
When I feel frustrated with my work, I often go for a walk and visit Namdaemun Market. A short walk from Namsan Park takes you to the first floor of the Namdaemun Imported Wares Market Halls, where you'll find a number of traditional art dealers with a history going back over 50 years. While the space is small and stocked with a limited selection, an atmosphere of strength of a place built over many years is palpable.
The basement is overflowing with a vast array of goods. It is still relatively unknown, perhaps because some owners prefer to keep their stores private on social media, but I highly recommend a visit if you are visiting Namdaemun Market.
Are there any European artists who have inspired you, or any you would like to introduce in particular?
I personally have a favourite book. I recommend "Duck, Death and the Tulip" by [German author] Wolf Erlbruch, famous in Korea for "Who Pooped on My Head?". It is a picture book about death, but it addresses the subject in a way that is neither too heavy nor trivial. I was deeply impressed by how it addresses death within a children's book without overdoing the emotions or dwelling on sadness. It felt like it captured the essence of a picture book, stripped down to its bare essentials, and I have always dreamed of creating a book like this one day.
Next, among Belgian authors, I'm particularly fond of Kitty Crowther. Among her works, "The Little Man and God" has stayed with me. (*French title: Le petit homme et Dieu, 2010, text and illustrations by Kitty Crowther) Looking back, I feel as if my work has not fully explored areas we cannot clearly define, such as precisely death and the afterlife. Ultimately, however, I harbour a long-held desire to explore these themes—the afterlife, the unnameable sensations and questions—with my own illustrations and stories, in a tone that can be shared with children. Perhaps it will be a story that been within me for a while, one I have not yet fully expressed in words.
From January 22nd to February 1st, 2026, a small exhibition of Woojin and I titled "This is What Our Love Looks Like" will be held at Gallery Come Amico in Seongsan-dong. This exhibition is not about showcasing my child's drawing skills, but rather an attempt to document and reveal how mothers and children share inspiration and affection through the medium of drawing. The process of drawing and sharing together is already a language and a record of our relationship, and I hope to share with the audience the relationships, emotions, and unique forms of love that are formed within it.
Working with Woojin naturally developed from our daily lives. For example, when Woojin selects a scene or colour he likes from a book or painting, I mix paint based on that impression. Woojin fills a large piece of paper with the colours I have mixed. Sometimes he completes the work in one sitting, and sometimes he slowly finishes over a period of time, layering over several layers. The resulting paper is then cut into pieces and used to create my collage work.
Your studio is located very close to the Goethe-Institut Korea. Have you ever been to the Goethe-Institut Korea?
I used to go there often with my son. These days, our schedules are hectic, so we cannot go as often as we used to, but we would visit often when my son was young. As I mentioned before that space has a slightly different atmosphere than a typical Korean library. I am not sure if it is the aesthetic of the furniture or the overall impression of the space, but wherever you look, there are elements that naturally draw your attention, and it reminds me of the comfortable aesthetic of European libraries.
The fact that it is a space where you can spend time with your children was also extraordinary. While basic order and consideration are certainly necessary, I felt the children had the space to relax and unwind. Rather than prioritizing rules, the atmosphere seemed to naturally embrace the children's movements and curiosity. That does not mean we let them be noisy or chatty, but I appreciated how the children could explore the space and spend their time there without feeling pressured.
There were board games and a variety of media provided, so even children who cannot read yet can enjoy the space itself. Perhaps that is why my child enjoyed it so much. It is a library that will remain in my memory for a long time, as it is a place where children can experience language, images, and space through their bodies, rather than just learning how to read.
Project Planning and Interview: Sohee Shin
Artist: Ga-Ae, Collage Artist
Images: Leslie Klatte, Yoonjung Daw
SNS Shorts: Yoonjung Daw
German & English translation: STAR Korea AG
