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66 x 66cm (25.9 x 25.9 inches) | oil on linen. Handmade pinewood frame. Completed in 2026.
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Woman in the Bath XVIII explores the loneliness and exhaustion of masking. The vibrant flowers represent the facade maintained for the outside world, while the private space of the bath offers relief from that performance. Yet the flowers remain, reflecting how deeply these layers can become part of our sense of self.
Exhibiting at Corey Helford Gallery's 20th Anniversary Exhibition — opening September 19 September 2026.
**Available via Nanny Goat. On display during the Feminine Mystique Exhibition**
Oil on wood. Restored hand carved Moroccan wood frame with mother of pearl. Completed in 2026.
Framed 42 X 31.5 X 3.5 cm (16.5 X 12.4 X 1.34 inches)
Unframed 5.2 X 10.2 X 2 cm (2 X 4 X 0.8 inches)
9cm x 15cm (3.5 x 5.9 inches). Mixed media and hand-raised Bombyx mori silk moth taxidermy. Completed in 2025.
Self Portrait I marks my first sculpture and continues the personal exploration begun in my Woman in the Bath series. While those paintings captured the “unmasking” phase of my life, this work represents the next step - the “unmasked” phase.
As someone on the autism spectrum, I often feel like an outsider - too much, too sensitive, too curious. This piece reflects that oddness not as something to hide, but as something to honour. The silk moth, hand-raised and preserved, symbolises fragility and transformation, echoing my own journey of acceptance.
This sculpture is both a declaration and an act of self-love: a way of expressing how I see and experience the world - intensely, uniquely, and beautifully.
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Encounter (2019)
50cm x 80cm | acrylic, hand dyed cotton threads on raw canvas
‘Encounter’ is the first painting in the ‘Peace Lily Playground’series and is about a memorable event that happened when I was a child growing up in South Korea.
The moment brought shock, due to the sense of irony, which I had never felt before. I was a healthy child, who lived at home and went to school, yet somehow my perspective on the world was so much darker and pessimistic than a boy who lived in a nearby hospital. In the painting, the boy is represented by the Goldfish, who lived in this foreign environment that I had never seen before. He broadened my whole perspective on the world, in the sense that it was much bigger than home, which had consistently brought disorder in my life. This disorder is illustrated by the chaotic nature of the red stitching that bends around the border of the painting, as if gripping to my being.
The sudden subconscious realisation I had from this boy carried a sense of calmness to my being, and delivered peace and hope—as shown by the peaceful and dreamlike floating of the Goldfish through a playground of Peace Lilies.
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Peace Lily Playground: Overexposed (2019)
50cm x 90cm | Acrylic, hand-dyed cotton threads on raw canvas.
'Overexposed,' from the 'Peace Lily Playground' series, encapsulates a transformative hospital playground encounter. The greened Peace Lily mirrors my dulled sensations from overexposure, a struggle to preserve initial amazement. A futile attempt to blend joy and unhappiness unfolds as my sister becomes scared. A protective instinct emerges, symbolized by the sprouting Peace Lily. This intricate piece explores mixed emotions and family ties, with three red strings representing familial bonds. Three figures—a sibling, my little sister, and a ghost-like flower—highlight familial connection, the ghost flower symbolizing a miscarried sister beneath a rib-like leaf.
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Original: 100cm x 100cm | Acrylic, gold leaf, and hand-dyed cotton thread on raw canvas. Completed in 2019.
"Bouquet" is a vibrant floral composition that celebrates the delicate beauty and harmony of nature. The bold hues of orange, blue, and purple blossoms create a striking contrast with soft, scattered petals and feathers, symbolizing both transformation and growth. The intertwining stems and falling petals capture a sense of movement and vitality, representing life's continuous cycles of change. Feathers add an ethereal touch, evoking lightness and freedom. This piece reflects the elegance of natural forms, celebrating the resilience and beauty found in life's fleeting, yet beautiful, moments.
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High quality print on 310g/m² Hahnemühle William Turner paper.
Black Iris (2018)
90cm x 120cm | acrylic, hand-dyed cotton threads on raw canvas.
In "Black Iris," symbolism tells a tale of disorientation and loneliness. The enigmatic flower, symbolizing "Oxymoron," captures the artist's contradictory emotions as an expatriate. The painting reflects the complexities of human emotion and the dissonance felt in unfamiliar territory, serving as a universal reminder of personal struggles and the shared desire for connection.
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“You’re still a magpie even if you don’t peck with others” speaks of the apathy of the viewer, when people stand by and gather like a tribe of magpies rather than help the victim. Their inertia becomes as criminal as the criminal they are watching.
90 W x 120 H x 3 D cm
Acrylic on Canvas
Created in 2020.
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Original: 120cm x 90cm | Acrylic, hand-dyed cotton thread on linen. Created in 2020.
"The Hunt" offers an imaginative and whimsical interpretation of confronting the proverbial elephant in the room. This unique piece finds its inspiration in a serendipitous encounter with a majestic Golden Eagle that alighted on the artist's city apartment balcony. As the eagle locked eyes with the artist before taking flight, its presence symbolized both an ending and a new beginning, heralding a transformative shift on the horizon.
The vivid painting captures the essence of the Golden Eagle's symbolism, representing strength, perseverance, hard work, and success. However, it also serves as a reminder that these powerful attributes can be obscured if one chooses to remain blind to reality and neglect the truth.
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High quality print on 310g/m² Hahnemühle William Turner paper (or similar*).
*Depending on what paper is available at a printer local to you.
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Original: 120cm x 90cm | Acrylic, hand-dyed cotton thread on linen. Created in 2020.
"Crane Picnic" presents a captivating, surreal depiction of the artist's husband and his multifaceted persona. As he yearns for social interaction, he simultaneously finds tranquility in solitude, taking pleasure in the simple act of applying sunscreen under the sun's warm embrace. His vivid imagination conjures up the presence of three cranes, which gracefully gather around the picnic blanket, symbolizing unconditional love, devotion, and good fortune. These ethereal creatures weave a tapestry of companionship that harmoniously complements his serene and introspective nature.
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High quality print on 310g/m² Hahnemühle William Turner paper (or similar*).
*Depending on what paper is available at a printer local to you.
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Original: 150 x 150 cm | Acrylic and hand-dyed cotton thread on linen. Completed in 2021.
After undergoing a shamanic ritual to rid me of spirit illness, I had a few months of healing period before a Cheondo-jae was scheduled.
Cheondo-jae (薦度齋) is a Buddhist ritual held to offer prayers for the spirit of the dead to be sent to the bliss of the afterworld.
Before the ritual took place, there was an inner calling for this painting: a sleeping bull surrounded by lotus flowers.
Once I had the epiphany I learned that a sleeping bull represents ancestors at peace.
Lotus flowers are closely connected to Buddhism and they represent the purity of the body: rising and blooming above the murk to achieve enlightenment. The bull finally closes its eyes to fully rest for it to ready itself for reincarnation.
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High quality print on 310g/m² Hahnemühle William Turner paper (or similar*).
*Depending on what paper is available at a printer local to you.
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