• Four giant paintings of infants encased in coffin-shaped frames hang from the ceiling, expressing Joo’s condemnation of how Koreans are shaping a future imprisoned by strict social norms.
• “The crying, covered with a smile” shows portraits of children who are supposedly victims of the modern Korean family system in which they must comply with the rules, and are given no room for emotions. Joo’s series exposes identity oppression for the sake of self-preservation of a very individualistic society.
• Joo demonstrates his technique in achieving the washed-out look of his paintings. First he sprays water on a traditional Korean paper, then dabs on the ink or oil using a Korean brush.