Victor Cho: The Sculptor Who Became His Dog, ‘bau’
A profound sense of longing, etched into stone and imbued with playful irony, defines the work of Korean sculptor Victor Cho, whose decades-long artistic exploration centers on a single, transformative character: his dog, Bau.
For over 16 years, Cho has channeled his experiences – loss, remembrance, and ultimately, a blurring of identity – into a body of work encompassing 14 solo exhibitions and over 500 group shows. His art consistently returns to ‘Bau,’ a canine companion who disappeared in 2009 and then, remarkably, “returned” in 2013, not as the dog he once was, but as a human-animal hybrid, a reflection of Cho himself.
Cho’s unique aesthetic, encapsulated in the term ‘SCULPTOON_Sisamangak,’ initially provoke confusion. Cho readily acknowledges this, explaining that ‘SCULPTOON’ is a neologism he coined, blending “sculpture” and “cartoon” to reflect his artistic approach. ‘Abbey Road,’ a playful nod to the iconic Beatles album, represents the complexities of daily life – “loving, being sad, getting angry, and fighting,” expressed through the characters 愛悲怒斗.
Cho’s work isn’t simply about aesthetics; it’s about prompting self-reflection. “we feel entertained just by explaining words,” the text observes, “While finding meaning and imagining stories in the fun, we have a moment of self-reflection.” He presents viewers with a “gift and topic” that evokes both nostalgia and a subtle melancholy.
The story of Bau is central to understanding Cho’s artistic journey. In the spring of 2009, an 11-month-old dog named Bau entered Cho’s life just as he prepared for his first solo exhibition. Their bond was documented on SBS Animal Farm that summer,but tragedy struck in November when Bau vanished. The loss was profound.
Yet, Bau’s presence was resurrected in 2013, not as the dog he once was, but as a human-animal hybrid. This transformation is embodied in the work ‘The third story ‘Bung’,’ representing both Bau’s bark and a self-portrait of the artist. Substantially, Bau’s left eye is consistently depicted as bruised, a visual metaphor for cho’s own emotional wounds.
“Victor Cho lived with Bow for 16 years. No, Victor Cho himself was Bau,” the text states, suggesting a complete merging of artist and subject. This blurring of boundaries led Cho to embrace a nomadic lifestyle, working as an artist in residence at the Chuncheon Cultural foundation, where Bau’s influence became increasingly pronounced.
Cho’s work has garnered attention through numerous exhibitions, including the Korea creative Content Agency’s ‘Spring Rebellion,’ the Ministry of Culture, Sports and Tourism’s ‘Art in Our Neighborhood,’ and a featured appearance in the movie ‘Hitman.’ his 2026 exhibition at the 15th Seoul International Sculpture Festival showcased new stone works symbolizing Bau using a variety of materials – patterned cloud stones, Boryeong five-stone, Guatemalan marble, and more – all rendered as small, doll-like figures. These sculptures, depicting playful poses, evoke a sense of childhood wonder, with a recurring “comma-like cloud” floating in the left eye.
The artist’s response to a notably whimsical observation – finding “poop on my dog Bow’s head” – was a hearty “Holy crap!” This anecdote encapsulates Cho’s ability to find humor and emotional resonance in the everyday.As two young women leaving the 2026 exhibition exclaimed, “It’s awesome, boy!” – a Korean expression meaning “Amazing, wow!”
Victor Cho’s art is a testament to the enduring power of memory, the fluidity of identity, and the profound connection between an artist and his muse.It is a poignant exploration of loss, longing, and the enduring spirit of a dog named Bau.
