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Kukwon Woo brings his signature playful nostalgia to a pair of new limited edition prints.
The Princess (Belle) is one of two new works exploring the fragile boundary between childhood memory and adulthood. Here, Woo makes a vibrant interrogation of the stereotypical princess trope, accompanied by the recurring characters of his daughter, Woojoo, and his dog, Hodoo – both depicted with his classic visceral, scored paint strokes.
Woojoo is far more than a recurring motif. Since becoming a father, Woo has traced much of his inspiration back to his young daughter, whose name translates to 'universe' in Korean. She has been a deeply meaningful presence in his life and his work ever since, an underlying thread running through the diverse themes of his practice and surfacing again and again across his solo exhibitions.
This richly textured, 15-layer archival pigment print evokes the unmistakable coarse texture of Woo’s painting style, marking the continuation of our longstanding role as the artist’s sole print edition partner.
Dimensions
Unframed: 52.1cm (H) × 40.6cm (W)
Framed: 59.5 (H) x 48 (W) x 3 cm (D)
Medium
15-layer textured archival pigment print with 3 layers of spot gloss varnish, printed onto 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
November 13, 2026We ship framed and unframed prints in bespoke boxes. The boxes are specially designed to ensure safe arrival, and 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.
Payment
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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.
