Medium: Textile ,Oil Paint 

Size: 6’

These two figures, Hanbok Cowboys, are pictured in a classic cowboy shootout. Constructed from repurposed fabrics; old curtains, tea towels, silk scraps and felt, these materials are pieced together with hand applique stitching. These cowboys appear clad in cinematic western costumes transposed into traditional Korean dress (the Hanbok).

This work is a study of the widespread connotations of the Western movie genre. The classic American cowboy embodies an image of all American masculinity. The image brings to mind associations of freedom, glory, and chauvinistic values. Classic Westerns, a movie genre birthed from the long history of Westward expansion, have served as an emblem of American heroism and have redefined the global influence of American media. I attempt to infuse an Asian femininity through laborious craft practices, textile and color pallets, into this iconic image of American dominance. This work is equally a celebration of the genre and commentary on its violent influence.

Medium: Textile Oil paint

Size: 50”x70”

The image of a Transformer originates from Japanese cartoons, and has been widely adopted into the greater Western media. In this piece the transformer represents an image of Asian glory in a Westernized space; a concept that many older generations experience secondhand through the lives of their younger counterparts. This fabled image of glory appears to be a dream, it's dangerous if provoked, and its motivations are unrecognized. It's misunderstood whether the Transformer is recognized by these younger members in the crowd. It’s uncertain whether the Transformer will behead the man before him or knight him. One wonders if this character is the source of the halo above the man’s head, or if he's there to rip it off, and take it as his own.

Medium: Textile, Felt, Cowhide, Leather 

Size: 96” x96”

This large-scale, hand-stitched tapestry begins as a life-sized “cash cow” and transforms into an eight-foot-tall Voltron. The transformation process intends to provoke thoughts on the relationship between representation and consumption, displaying how we perceive and engage with cultural symbols; displaying the relation between American Consumerism and the consumption of East Asian symbology.

Medium: Textile, Felt, Cowhide, Leather 

Size: 96” x96”

This large-scale, hand-stitched tapestry begins as a life-sized “cash cow” and transforms into an eight-foot-tall Voltron. The transformation process intends to provoke thoughts on the relationship between representation and consumption, displaying how we perceive and engage with cultural symbols; displaying the relation between American Consumerism and the consumption of East Asian symbology.

Medium: Textile, Oil Paint, Mesh fabric, Thread, Canvas

Size: 50”x70”

This artwork features a horse painted on pieced-together canvas panels, covered in red mesh fabric. The entire circumference of the animal as well as its horizon line is held together with meticulous hand stitching. The image of a horse is one synonymous with freedom. Its image is closely tied to the Western genre, a beast that a lone cowboy may ride upon. Historically the value of the horse has been closely tied to war, trade, and subsequent Western global dominance. Folk and country songs elevate the image of wild horses running free across American pastures. However, This depiction of a horse does not manifest itself within a connotation of power. Instead, the horse is depicted in a state of confinement, unable to run free. The extra legs weigh it down rather than provide additional mobility. Despite these extra appendages, they provide him no new opportunity, acting instead as a mutation, a burden.

Medium: Textile Oil paint 

Size: 77”x55”

Wrangling a Wounded Horse explores power dynamics, toying with excessive theatricality that occurs in Western media and culture. This horse serves as a representation of Westernized power, reminiscent of war portraiture. The rider, myself, is shown on top, but rather than illustrate this image as a depiction of strength; I appear unstable, unable to grapple and control the horse. The horse is flat, an imagined and exaggerated myth.

Medium: Textile Oil paint, rhinestones, raw canvas 

Size: 44” x 84”

“Yoo Hoo" is a triptych that explores themes of obsession and cultural commodification, focusing on the fetishization of East Asian imagery in Western media.

Within this series the monster stands as a metaphor for representation within Western media, and the girl acts as a consumer of these images. This series illustrates the phenomenon of being distracted by the glamour that comes with being seen and represented by a western world, ignoring the gross reality of this how this world views you in return

Size:60”x38”
Medium:Oil Paint, Rhinestones,Canvas Prints, Thread

An All American Union is a wedding portrait, symbolizing the union of Korean, Chinese and Western cultures. The Elvis bride presents herself before the audience, dressed in traditional Korean wedding attire. She stands at the altar next to Chinese kung-fu legend Bruce lee, his wedding attire consists only of the American traditional leg garter. Overlooking this wedding is the Father (Bob Dylan), Son (George Harrison), and the Holy Ghost (Buddy Holly). The holy trinity of rock and roll in bejeweled costumes reminiscent of Elvis’s famous eagle clad cape.

Size:50”x70”

 Medium: oil paint

This oil painting centralizes known American pop culture, in an exaggerated glorified depiction of violent masculinity. Depicted in this portrait is Asian American kung fu legend Bruce Lee, Captain America, Gi Joe, very large Ann Darrow and very mini King Kong; all battling in a super smash bros gladiator arena.

Medium:Oil paint

 Size:42”x60”

Referencing 60s rock, The holy trinity, Vegas weddings, cowboys, Korean traditional ceremonies, and
A nativity scene, outlying the long history of Korean assimilation into the Christian religion, comparing this event to the idolization of American pop culture

Cast:
Mother Mary as herself
Earth Vader as Father Joseph
The clown and The hunter as the Shepards Charlies Angels (2000) as the three wise men The Eagle as the Angel