Her experiences in dealing with broad conflicting values, a daily feature of racism and sexism in Western Europe as an Asian woman, have become the foundation of her political thinking and artistic expression. Her work focuses on the subjectivity of Asian immigrant women and their bodies, exploring how they are perceived not only in Asia but also in Europe.
Passport (2012) clearly displays the government's control of other feminine bodies as well.
In Wien (2018) and Weisser Rahmen (2018) highlight an Asian immigrant's experience with racism and sexism in Vienna. The two works represent violence towards Asian women that extends to Asian women in Europe.
-Sane (2020), Peephole (2021), and Sorrow in the Tireless Year (2022) address the "new norm" within the context of remembering their friendships and social relationships prior to COVID-19 and anti-Asian racism since the onset of the pandemic.
Cacophony (2023) and Dive In (2023) delve into the conflicts faced by a Korean woman in defining her identity within both Asian and Western societies.
The video projects, Ajumma (2015) and Agassi (2017), criticize the misogynistic depiction of Korean women in the mass media—the two works consist of video clips regarding K-pop and Korean soap operas in order to reveal the pattern of fixed images of Korean women in the Korean mass media, which categorizes and objectifies them.
The collaborative project Swan Song (2023) offers a critique of institutional certifications and presents an expanded understanding of artistic practice.