We were lucky to catch up with Jewan Goo recently and have shared our conversation below.

Hi Jewan, thanks for joining us today. What’s been the most meaningful project you’ve worked on?

One of the most meaningful projects I’ve worked on is my current exploration of Unit 731, a covert biological and chemical warfare unit operated by the Imperial Japanese Army during World War II. This project holds deep significance for me, both personally and as a research-based photographer focused on uncovering obscured histories. Growing up in South Korea, I became aware of the many stories from the Japanese colonial period that had been distorted, erased, or simply never acknowledged. Unit 731, with its horrific experiments conducted on prisoners from China, Korea, Russia, and other nations, is one such hidden chapter, often avoided or sanitized in historical narratives.

This project has allowed me to delve into a painful yet crucial part of history that impacts the memory of entire nations. Through dioramas and large-format photography, I attempt to reconstruct and visualize these erased histories in a way that encourages viewers to confront the past. I believe that presenting these ‘truth-based alternative histories’ is essential to challenging the official narratives that often downplay or obscure such atrocities.

For me, this work is not just about documenting history; it’s a commitment to justice and remembrance, a way to give voice to those who suffered and to contribute to a broader dialogue on memory and accountability. This project feels especially meaningful because it connects my personal heritage with a global responsibility to address historical injustices.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

My name is Jewan Goo, and I’m a research-based photographer focused on reexamining and reconstructing hidden or distorted histories. Originally from Seoul, South Korea, I now live and work in Philadelphia, where I pursue photography as both an art form and a means of historical inquiry. I hold an MFA from the University of Pennsylvania, and my practice is deeply rooted in exploring Korea’s past, particularly during the Japanese colonial period—a time marked by censorship, erasure, and control over information.

I got into photography because I felt that history is often manipulated or selectively told, especially under political regimes. Photography, for me, is a powerful medium that allows me to challenge these narratives and visually reconstruct the past. I don’t just document; I build and reimagine histories through research-driven photography, using dioramas and large-format imagery to fill in the visual gaps that official records may avoid or overlook.

What sets my work apart is my commitment to creating photographic representations of historical records that exist solely as written documents or texts, effectively filling the absence of photographic evidence. By using historical analysis to reconstruct narratives confined to written records, I make these stories visually accessible and, hopefully, impactful. This approach bridges art and history, offering a lens through which viewers can engage with difficult and often silenced pasts. Currently, I’m working on a project exploring Unit 731, a covert Japanese military unit known for its horrific human experiments during World War II. This work is about more than presenting history; it’s about justice, memory, and ensuring these stories aren’t forgotten.

I’m most proud of the way my work has sparked conversations around power, memory, and historical accountability. For potential clients, followers, and fans, I want my work to be a place where they can question and learn, confronting the realities of history that may be uncomfortable yet necessary to acknowledge. Through my art, I aim to provide a space for reflection, healing, and ultimately, understanding.

Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?

Ariella Azoulay’s works, particularly The Civil Contract of Photography and Potential History: Unlearning Imperialism, have been foundational in shaping my approach to both management and creative philosophy. In The Civil Contract of Photography, Azoulay discusses the ethical responsibilities that come with creating and viewing images, emphasizing the relational dynamics between the photographer, the subject, and the viewer. This perspective has influenced the way I manage my projects, reminding me that each creative decision carries ethical weight and that my work isn’t just about producing images but fostering meaningful engagement and dialogue.

In Potential History: Unlearning Imperialism, Azoulay explores the idea of rethinking history from marginalized perspectives, challenging dominant narratives and encouraging readers to question established frameworks. This book has impacted my entrepreneurial mindset by teaching me to approach my work with a critical eye, always asking how it contributes to a more inclusive and truthful understanding of history. Both books have reinforced the idea that art is not created in isolation; it is connected to broader social, historical, and ethical contexts. This has shaped my philosophy, not only in terms of creative output but also in the way I interact with audiences and manage each project with integrity and purpose.

What do you think is the goal or mission that drives your creative journey?

The primary mission driving my creative journey is to unearth and visually reconstruct histories that have been hidden, distorted, or erased, especially those that challenge dominant narratives. As a research-based photographer, my goal is to create work that bridges the gap between art and historical inquiry, providing a platform for stories that exist only in fragments—often as censored documents or unacknowledged accounts. My work aims to fill in these gaps, using photography as a means to bring visibility to silenced perspectives, especially from the Japanese colonial period in Korea, a time when cultural and historical records were heavily controlled and manipulated.

This mission is rooted in my belief that art has the power to challenge established narratives and invite viewers to question what they know about history. I’m driven by the idea that my work can serve as a form of visual evidence, a testament to the experiences of those who were often overlooked or intentionally erased from history. By creating dioramas and large-format photography, I strive to present these ‘truth-based alternative histories’ in a way that resonates emotionally and intellectually, fostering deeper conversations about memory, justice, and accountability. Ultimately, my goal is to contribute to a broader understanding of the past, encouraging viewers to reflect, engage, and perhaps even re-evaluate their perspectives on history.

Contact Info:

• Website: https://jewangoo.com
• Instagram: 8in.lab