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Kukwon Woo channels the sacred spirit of Japanese waterfalls in a new multi-layered print.
Waterfall (Ono) is one of several 2025 waterfall paintings by the Korean artist, fusing inspiration from Hokusai’s historic series, A Tour of Waterfalls in the Provinces (1833-1834), with quotes from the Bible. In this particular work, Woo inscribes a passage from John 4: "but whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.” The juxtaposition of the Japanese master’s Ukiyo-e style with Christian scripture creates what the artist describes as an "ironic narrative", where familiar Eastern imagery becomes a vessel for cross-cultural spirituality.
This richly textured, 13-layer archival pigment print honours the delicate beauty of traditional Japanese woodblock printmaking as well as Woo's contemporary conceptual vision.
Framing
Prints can be ordered float-mounted in one of three framing options:Medium
13-layer textured archival pigment print with 3 layers of spot gloss varnish. Printed on 1650 micron heritage conservation board.Edition size
50Authentication
Signed by the artist. Individually numbered.Certificate of Authenticity
Arrives with a certificate of authenticity.Release date
September 30, 2025We ship framed and unframed prints flat in bespoke boxes. You'll find gloves and handling instructions inside. If you order more than one unframed print, your artworks may be shipped in the same box.
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To get closer to pure expression, Woo unlearned the habit of writing neatly. His messy script frames many of his canvases with phrases like “a baby is God’s opinion that life should go on” (Tomorrow, tomorrow, I love your tomorrow, 2021). At face-value, it expresses Woo’s excitement as a then father-to-be. However, the words betray their writer’s awareness of life cycles and religion, and therefore mortality and morality. While works like Rainbow is Illusion (2022) are overtly cynical, the lurking existential dread is always softened by the pastel colours and rag-doll texture of Woo’s painting. Like all good fabulists, he excels at the gentle push and pull between knowledge and innocence.
