ROK Tigers, 2026
Birthed from traitors, the Republic of Korea continues its undying loyalty to U$ imperialism, previously supplying them with weapons and troops to murder those in Vietnam, Afghanistan, and Iraq, and most recently, they relocated weapons like THAAD to West Asia to escalate the war on Iran.
ROK President Lee Jae Myung said he could do nothing to stop the relocation of these weapons. This comes at no surprise as “South” Korea has never had control over its military. The military is just another imperialist arm for the ROK to repress those abroad and internally, physically and sexually integrating Korean men into the U$ war machine.
Previously, I have talked about the rise of circumcision in “South” Korea in the 1950s following U$ military intervention and how these men began take on the form, of the oppressor, not just through a uniform and flag but body augmentation.
so yeah that’s why these guys got their pants down and are ✂️✂️✂️
Build an Art Show
Break a Movement
Rather than a full fledge essay, this is just a collection of thoughts I’ve had about the Art World, art, and politics. I plan to expand on all of these topics in the future, as these remain unsatisfactory sketches, so let me know what sections interest you all the most!
I was kinda nervous to post this because I am pretty transparent about how I contradict this in my everyday life: my class background, semi-involvement in the Art World, and more. But maybe this is another step towards confronting such contradictions head on and openly. Lowkey I’m mentally preparing for posts like these to blackball me but what can you do 🤷🏻♀️ maybe Art World su*c*de is part of the goal 🤺)
Political development is not a linear process, and I’m gonna mess up a lot, but taking some of y’all on this journey has been really fun so far.
Credit to @genderfail for the open source font and shoutout to all my friends who helped me with this one 😃☝🏼
ROK Tiger No. 2
2026
Ceramic
6” x 6” x 6”
I finished this piece the day @gyopo.us posted about the Korean people's 1919 struggle against Japanese occupiers. Not only was it deeply offensive but ahistorical. Littered throughout the carousel were ROK flags, which did not even exist pre 1948. The ahistorical narrative that Gyopo constructs is one that erases half of the Korean people, celebrates traitors, and fails to connect anti-imperialist struggles against Japanese colonizers with U$ imperialism, the ROK flag being is a symbol of such imperialism.
If they understood history, the connection would be obvious, seeing how the U$ occupies the same military bases that the Japanese built on our land and how the same Korean traitors who served the Japanese imperial arm were the ones promoted up the ranks in the ROK military under U$ occupation.
If you cannot see how the U$ colonized Korea and carpet bombed our land, then you are not equipped to acknowledge, let alone fight against, U$ imperialism today in Palestine, Venezuela, Iran, and more. This is what this ceramic tiger is about. The complete integration and assimilation with the U$ war machine.
Sadly, I used to look up to Gyopo. I felt empowered seeing a community of others within the "diaspora." But the question must be asked, who does this community serve and who does it harm?
Searching for Korean revolutionaries, I turn to Kim San. While I haven’t finished the book, I hope to be inspired by his words and dedication to the national liberation of our people. I will keep yall updated on my findings 🙈
CERAMIC PP TIGER SUPREMACY 🤺
Honored to be showing some ceramic tigers in LA with @company_______car and @sidebitch_la 🙂↕️ if you want to know more about these sculptures and me, you can listen to an interview I did with a new podcast called @acrossthestudio 💕 (photo creds @donangeloam and @sammicwong )
TODAY TODAY TODAY
Graphite on the backs of pamphlets
2026
I missed doing this series so much. Here’s to more today’s in 2026 💁🏻♀️ which one is ur fav?
Raising a Fist (doves in the way), 2026
Oil on canvas
30” x 24”
Picasso’s doves have been floating everywhere online, and those who circulate such imagery usually pair them with calls for peace. However, the dominant politic of this “peace” is anti-revolutionary and comes at the expense of people from the oppressed nations and Third World.
Those who promote such peace usually come from privileged backgrounds, where they comfortably observe the horrors of genocide and say “This is wrong. I don’t support this. We need peace.” They envelope themselves in a cloak of liberal moralism and reproduce a peace that is inherently violent. Their peace aims to either maintain oppressive hierarchies so long as its unbeknownst to them or to metaphysically remove violence altogether in one swoop.
These individuals cry for the oppressed but do not support the militant resistance their oppressor.
The symbol of a dove for peace was used by Picasso at the 1949 Paris Peace Congress. While there may be arguments struggling over the meaning of that dove and what kind of peaceful order it advocated for—perhaps a classless society achieved through revolution,though doubtful given the reactionary elements of that meeting—the liberalism found throughout Picasso’s oeuvre reveals the overall shortcomings of his doves.
Even in his most revolutionary work, Picasso’s final version of Guernica omitted imagery of a raised fist that was present in his first draft—the raised fist being a clear symbol of resistance. I would argue that the revolutionary aspects of Guernica overshadow this omission, however, such a decision, coupled with his consistent failure to depict active resistance of the oppressed demonstrates the limitations of a politic, which we must overcome in the now-time.
24
I began last year reading Gregg Bordowitz’s essay titled, Picture a Coalition. Walking through New York, I imagined a young Bordowitz at the height of the AIDS epidemic screaming “your gloves don’t match your shoes!” at cops. As a “twenty-three-year-old faggot” myself, I made it a goal to channel that vivacious attitude to stand with the oppressed.
In that respect, picturing was the easy part. But exercising that solidarity and understanding what political line needs to be pushed was much more difficult. Academic tendencies inclined me to read about revolutionary politics and find comfort in vulgarized ideology, ungrounded in practice. What pulled me away from those petty-bourgeois tendencies (which I still have) were friends, comrades, and the masses. They encouraged me to engage with revolutionary thought in a material way—not only through protests, but more banal gestures like door-knocking, flyering, and building a relationship with those who brunt the weight of capitalism.
Ideologically, I moved away from Bordowitz and looked towards the likes of Malcom X, Huey P. newton, WEB Du Bois, K. Murali (AJITH), MIM(Prisons), Kites, Going Against the Tide, and others. I’m sure they would have critiques of Bordowitz’s essay, perhaps its hints of social fascism, however, to take nothing away from the text would be a dialectical mistake.
Rereading this piece, I was surprised to discover something I had missed the first couple times. Quatrefoils.
I still don’t know exactly what the shape means to me. Maybe I am enthralled by its aesthetic form, or maybe, I find it a curious display of contradiction and (idealistic?) dialectics. In any case, it has stuck with me for over a year and there are no signs of it leaving.
So now I am a twenty-four year-old faggot. What is to be done next? girl idk 🤷🏻♀️ I’ll probably work at the same ceramic studio, draw the same gay cartoons in my sketchbook, and watch BL anime. But between it all, or rather through it all, I hope to deepen myself with the masses and work to end the epidemics which emerge from capitalism. pretty basic stuff right? 😮💨
