“I am driven to examine the many interpretations of female bodies in art. My work is about questioning how I identify myself with my own perceived body.  I am conscious of others' outward perceptions of my physical form as an Asian woman, which leads them to expect certain behaviors that they associate with my racial identity. 

The objectification of women’s bodies results in feelings of inadequacy if we do not achieve the perfect physique portrayed within popular media. Countless cultures depict women, and with hindsight it is possible to understand how these depictions have changed. I try to represent human tribulation through my art - wrestling identity, injustice, or simply being. Voices shouting social, political, economic, ecological, and gender struggles, all over the world, make me feel that these elements are a vital part of everyday life. I am interested in the concept of fragmenting the figures within both painting and sculpture. By showcasing scars and stitches on nude women’s bodies, I highlight the realities of experiences of childbirth and breast cancer.  By creating substantial physical layers of paper, I connect to the history of the varied depictions of women. My intention is to demonstrate the extent to which the form and shapes of bodies have been distorted. Representations of women often exclude the typical woman living in contemporary society. Women and mothers have been forced to digest their own emotions and contain their rawness, only permitted to express themselves elegantly and with fake beauty. In my experience, society deems women's pains as simple miscues and lousy feelings, rather than as deeply profound. Core human identities are melted and become either valuable sweet juice or discarded liquid.

My work over time has been a series of creative battles between traditional Korean art craftsmanship and contemporary American art. Along with layers of paper demonstrating fragmented voices, my art involves disassembly and reconstruction of craft skills and materials.” — Seongmin Yoo