At first glance the subject matter and philosophies Young Joon Kwak is exploring may be indiscernible. Her sculptures are a range of minimal, tactile, gestural, and bodily, each one a contradiction of the one that came before.

In Hermy, Kwak references the herma statues of classical antiquity as a starting point to then dissect and rearrange traditional notions of gender, while both skewing and embracing overt attributes of queerness in her forms.