Idea sketch, 2021, found objects, bio plastic, plaster
Idea note, 2021

2021, spatial installation, mixed media

As an Asian woman born in Germany and who has lived in Europe for many years, I have encountered various forms of racism and sexism.

Each time I speak up, most people stood in solitary with me, however, some reacted aggressively; they either scoffed or denounced me. 

Thus, I, as an Asian female artist, feel a strong sense of responsibility to talk about racial discrimination through my work. 

This page will argue how Asian women are objectified sexually in Western countries and how often it is overlooked, ranging from historical events to personal experience. 

Monkey House, 74x182cm, 2021, Ceramics
During military occupations, many young Asian women were kidnapped and forced to work as prostitutes. An institutionalized prostitution system was permitted and encouraged by the government and they constructed brothels for the US forces in order to generate revenue from the US militaries.

The police regularly invaded prostitutes who were “suspected” of spreading sexual disease. They would detain those, locking them up under guard in so-called “monkey houses” that had barred windows.The women were forced to have an injection of penicillin every other day and take medications until they vomit. Many of them were unable to withstand the pain of the injection and attempted suicide.

Their human rights were ignored and a comfort woman was brutally murdered by U.S servicemen in 1992. She was found dead with a bottle stuffed into her vagina and an umbrella into her anus. After the military occupations, large number of Asian women moved to America. However, up until now, they have been sexually objectified often.

Monkey House II, 50x30cm, 2021, Ceramic

They are all beautiful, 2021, Video Installation

Yellow Fever is not preference. It’s racial prejudice.

The audio work suggests that how Westerners have viewed Asian women in an almost entirely sexual light. It also demonstrates yellow fever might be motivated by an antifeminist backlash in men who are against (White) women endorsing feminist values of independence and autonomy; wish to return to traditional gender roles.
Almost all of those interviewees started with a sentence that negates Asian women as submissive, but, nevertheless, they all mentioned that Asian women are submissive.
The rampant Asian sexism/fetishism is interrelated to immigration law, a military occupation of East and Southeast Asia, war brides, sex tourism, pornography, and mail-order brides. Moreover, the ‘gendering’ of races, whereby Asians as a racialized group are stereotyped as feminine, due to their purportedly shy, soft-spoken, and submissive racial ‘essence’.

While Asian women are already subject to sexual objectification as women, racial depersonalization involves a further dimension of objectification which is called ‘fungibility’ and in which a person is treated like an object interchangeable with other objects. Many Asian women still feel like they have been objectified, exotified, and hypersexualized because of their Asian appearance.
With all the stereotypical ideas of Asian, racially inflected comment or joke, people of colour must decide whether or not to question it, ignore it, analyze it, challenge it, file a complaint, seek others’ opinion and validation, etc.—all of this takes energy and a toll in ways that White people do not experience.
Sideways, 39x40cm, 2021, Ceramic

To live as an Asian woman, printing, 2021
The idea of an Asian person being innocent, obedient, and traditional is against their individuality as a human being.

These short comments are based on my experience of what I have heard so far. It allows the reader consciously to be aware of invading a private experience.
Struggle, 100x100cm, painting on mural, 2019

What causes depression? The definition of depression can be different from one another. Everyone may encounter mild or major life events now and then. It affects the way you think and how you behave.

Experimenting with different materials, the use of colours and paying more attention to individual‟s struggles, the general concept behind my work has resulted in an art-therapy or a self-therapy. It‟s fair to say that I make my works to gain spiritual stability and release myself from overwhelmed feelings. This has led me to increasingly focus on the outburst of emotions, finding the splendid shapes and all different colours that seemingly paradoxical as to the meaning of my general work.

I used to like using black and white. However, ever since I spent much time in my garden I’ve felt naturally more attracted to the colours that represent nature. My colour pallet may seem very paradoxical as compared to my personal history however, the choice of colour is closely related to how I cope with my feelings. Thanks to nature, my vulnerability has been replaced with happiness. Automatically, there has been a significant difference in my colour pallet.

I would like to express my emotions in many ways. The use of colour is a way of expression for me. As my main focus is exploring spiritual or emotional ideas, rather than making things look lifelike, I pay more attention to patterns, colours, and shapes. I have produced strong patterns to escape from the reality that generates sensations of the dreamy world. This is what sparks the inspiration for my work.

As the saying “Pain is bitter, but its fruit is sweet” goes, I would like to cheer for people who are going through a tough time due to depression through my work.

Untitled, 2.1×2.5m, paper cut-outs on the wall, 2020

installation, 2020
A vintage store, 150x150cm, printmaking on canvas, 2019
Subway, 140x140cm, printmaking on canvas
Dogs, 120x120cm, printmaking on canvas, 2019
Insomnia, edition of 5, handmade box with a linocut book, 2018
Untitled/Botanical garden
Wrong fate/Dogs
Unconsciousness/Tail wagging the dog
Meaningless kiss/Outburst of an anger
La Pureté, Silkscreen printing, 2.5×1.5m,2018
Hallucination, print on paper, 2018
Handmade book of photography with lino-cuts, 2018
Another dimension, marbling in the sink, 2018