Eunjo Lee

An interdisciplinary approach

As an art student, I found that situating my work within a broader historical context, rather than focusing solely on self-referential themes, was essential to deepening both my practice and research. The course’s integration of Fine Art and Art History made it especially compelling in that regard.

Rather than following a traditional art history route, I was given the opportunity to explore the history of performance through making, tracing how gesture and presence carry historical weight. I was introduced to ideas around queerness and technology as frameworks for rethinking identity, and to feminist readings of magic and witchcraft as forms of resistance and imagination, among many other threads.

This interdisciplinary approach allowed me to engage with art from multiple perspectives and supported the development of my practice in a thoughtful and expansive way.

Vibrant discussions

Alongside the theory modules, I had access to a studio space where I could reflect on and develop my work, take part in tutorials with brilliant tutors, and join group critiques. What I valued most was the opportunity to present my work and engage in thoughtful discussions—both by articulating my own ideas and responding to those of others.

I also made full use of the workshops, from metal and wood to printmaking and the computer labs, depending on what each project required.

The degree show

Preparing for the degree show in my final year was a memorable experience, but some of my fondest memories come from my second year, when I worked as a helper for the graduating third-year students. I remember the light flooding into the studios in the early afternoon, the physical satisfaction of painting walls and floors with friends, and the warmth of those shared breaks—buying beers from Sainsbury’s, sitting in a circle, talking and laughing before getting back to work.

In the evenings, we’d head to the local pub, tired but fulfilled. Those days were formative, not just in practice, but in building friendships and a sense of shared purpose among fellow artists.

A supportive environment

Looking back, it was a place where the more you put in, the more you gained. It offered the perfect environment to learn, exchange ideas and grow as an artist. Conversations with tutors—who were not only exceptional artists but also deeply thoughtful mentors—were a privilege. I valued their questions and guidance, and always felt encouraged to challenge myself and push the work further.

Personal development

For all of this—the course structure, the integration of art and history, the freedom to experiment, the support of technicians and staff—I feel deeply grateful. My time at Goldsmiths gave me not only the confidence to continue as an artist, but also the desire to do so.

It helped me shape a direction for my work and build a sense of outlook I now carry with me as I move forward. Equally invaluable was finding a community of fellow artists in London—people I can rely on, grow alongside, and share this journey with. That sense of solidarity is something I could not have gained elsewhere.

Life after Goldsmiths

As soon as I graduated from Goldsmiths, I began the MFA Fine Art course at the Ruskin School of Art, University of Oxford. The following year, I held my first solo exhibition at Niru Ratnam Gallery in London and went on to join the gallery as a represented artist.

I also presented my first institutional exhibition at Goldsmiths Centre for Contemporary Art. With two major solo shows in close succession, this year has been an intense period of continuous making and exhibiting.

My primary medium is 3D animation, and I’m currently preparing for several upcoming group exhibitions and artist talks. I’m also in the process of applying to various open calls and residencies, which I see as valuable opportunities to develop new work and expand the scope of my practice.

At the heart of my work is a commitment to world-building within contemporary art. Using real-time rendering in Unreal Engine, I construct virtual environments and explore them as I create. I often lose my way in these digital landscapes, encounter unexpected scenes, and allow these moments of chance to shift the direction of the work.

I write scripts based on what unfolds in these worlds, and collaborate with composers, sound designers and voice artists to bring the environments to life. When everything comes together as a moving image, and I see viewers absorbed in the screen, immersed in the world I’ve created, I feel a profound sense of fulfilment.

The process can be demanding, but few things are more rewarding than recognising in my own work that quiet feeling of this is right.

Looking ahead

I intend to continue working as a full-time artist throughout my life. Inspired by myths and symbols from diverse cultures, my aim is to create a contemporary mythology—one that forms the foundation for imagined worlds that others can enter and inhabit. I hope to develop these narratives across exhibitions, films, books and performance, moving freely across forms without being limited by medium or genre.

I imagine a world where inner and outer realities are closely intertwined, and where everyone holds the potential to engage in acts of creation. I hope the worlds I build remain rooted in the present, offering not only spaces for imagination but also meaningful insights into the world we share. For me, world-building is not an escape from reality but a return to it through other forms—a search for what lies beneath the surface of the visible.

I see these constructed worlds as sites of reflection, where private mythologies can encounter collective urgencies. It may be a demanding path, but I hope it will be one shaped by richness, clarity and connection.

Advice for future Fine Art History of Art students

If you're studying Fine Art, I’d strongly encourage you to make the most of the incredible range of workshops available at Goldsmiths—wood, metal, fabric, photography, digital labs, printmaking, textiles and more. Few universities offer such a wide variety of high-quality facilities, and once you graduate, access to these kinds of spaces usually comes at a cost.

Don’t restrict your practice to a single medium. Try everything at least once. Let the materials guide you, and allow yourself to shift direction depending on what each workshop opens up.

The course, and the tutors who support it, truly value open thinking and experimentation. Some of the most valuable insights come when you try a method you never thought you would. That kind of freedom and support is hard to come by outside of art school. The technicians and tutors in the workshops are also incredibly skilled and generous with their knowledge—the chance to learn from them is a privilege in itself.

In visual art, the question of how you choose to give form to an idea or feeling is never just a technical one—it’s also a philosophical inquiry into presence, materiality and the nature of representation itself. Exploring which 'visual language' best conveys your inner world means engaging with the deeper question of what it means for something to appear, to hold weight, or to be made visible.

The act of making is as much about thinking as it is about doing, and the workshops offer a unique space for that kind of embodied reflection.

Exploring London

London is one of the most important centres for contemporary art, and I’d really encourage you to make the most of it. Try to see as many exhibitions as you can—go to openings, visit shows at least once a week, and make a point of attending Frieze each October.

Take advantage of the major public collections that are always open and free—places like the National Gallery, the British Museum and the V&A. Because they’re so easily accessible, it’s tempting to think you’ll go someday, and end up putting it off. But these institutions are extraordinary repositories of knowledge, and visiting them regularly can become a quiet yet powerful part of your ongoing education.

In short, keep yourself engaged. Don’t be afraid to connect with people in London, and don’t hesitate to put yourself out there. To feel truly at home in this city, I believe it’s important to find communities and people who make you feel welcome. That was certainly the case for me.

Finding community

Goldsmiths offered a strong foundation for that sense of belonging—so invest in the relationships you build, take the initiative to reach out, and enjoy your time with others. Value those connections, be willing to take the first step, and embrace those moments as part of your life, not separate from it. The process of discovering yourself within the city, through encounters with others, will add depth and meaning to your life as an artist.

Studying in South East London

I loved spending time with a group of friends curled up on the soft armchairs at New Cross House, sharing a pizza and a few beers. I also have lovely memories of Rose’s garden pub, where, whatever the weather, we’d gather beneath the red patio heaters, sitting close on wooden chairs, eating, drinking and talking late into the evening. These two pubs became regular meeting spots for us during my time at Goldsmiths.

Another favourite was the upstairs space at the Amersham Arms, a pub just around the corner, which students could hire for a day or two to put on small group exhibitions. We curated and installed the shows ourselves, and it was one of our first experiences of presenting work collectively. It felt both exciting and meaningful.

In Peckham, there was a similar space called Safehouse, where we organised another group show in a more experimental setting. Places like these gave us a sense of freedom as young artists. Even as students, they offered platforms where we could begin to shape our practice, build community and develop a spirit of independence and initiative.

My favourite place on campus was undoubtedly College Green. On sunny days, we’d bring along drinks, fruit or packed lunches, and sit together in a circle, talking and eating in the warmth. After a full day working in the metal workshop, I often found myself heading there as the light began to soften, lying back on the grass and looking up at the sky. It was one of the simplest yet most uplifting pleasures.

Graduating work - Hesapia

'Hesapia' (2023) was presented as part of the Goldsmiths graduate exhibition and marks my first work in 3D animation, created using Unreal Engine. The film constructs a virtual world rendered in real time, blending symbolic imagery with cinematic rhythm to reimagine an archetypal narrative through a contemporary lens.

Drawing on the story of the Garden of Eden, the film follows a child who, upon approaching the garden, encounters an angelic figure who declares that a sacrifice is required for entry. Refusing to harm another, the child instead chooses self-sacrifice—undergoing death in order to be reborn within the garden.

At its heart, 'Hesapia' explores how certain myths are so deeply embedded in the collective unconscious that they continue to shape our understanding of morality, transformation and transcendence. By reinterpreting one of the most enduring archetypal narratives that underpin contemporary belief systems, the work gestures towards a new mythology for the present—one grounded in inner sacrifice, renewal and personal choice.

The following images are taken directly from the film and offer still glimpses into the digitally constructed world of 'Hesapia', built and rendered entirely within Unreal Engine.