THE OBSCURE REINVENTIONS OF THE THREE RELIGIOUS ICONS ARE DISGUISED IN DELIBERATELY DECORATIVE ELEMENTS THAT OVERSHADOW ITS HOLY NUANCE. CONVERTING THEM INTO A LIFELESS SPINNING TOY, KIM EUN JIN INGENIOUSLY INDICATES THE ALTERED SOCIAL STRUCTURE OF THE MODERN SOCIETY TO POIGNANTLY ANALYZE THE DISPASSION AND SUPERFICIALITY GLOBALIZATION HAS ROUSED IN HUMANS, MOREOVER, CRITICIZING THE TAINTED BELIEFS AND MORALS OF INDIVIDUALS.
KIM'S AWARENESS IN THE POWER OF RELIGIOUS SYMBOLISM IS ELOQUENTLY UTILIZED IN HER SIMPLE INSERTION OF THE BUDDHIST LOTUS ON THE BABY'S CHEST TOGETHER WITH THE CHRISTIAN HALO. BY HER INTRICATE MIXTURE OF SYMBOLISM, SHE PICTORIALLY IMPERSONATES THE HYBRIDIZATION OF GLOBALIZATION. CONTINUING TO EXPLORE THE TASTEFUL CONUNDRUM THAT JUXTAPOSED IMAGERY PROVIDE, SHE OVER EMBELLISHES THE CLOTHING OF THESE THREE FIGURINES, RESONATING THE COLORS AND PRINTS OF KOREAN TRADITIONAL CLOTHING 'HAN BOK'; CONVEYING THE UNIQUE SILK SOFTNESS OF THE TRADITIONAL GARMENT WITH HER ORDERLY BRUSH STROKES. THE VIVID COLOR IN CONTRAST TO THE HEAVY GREY OF THE ARM AND MECHANISM PROVOKE AN ILLNESS OF THE DEAD TOY-LIKE ESSENCE OF MARY, JESUS AND JOSEPH. TWISTING THESE HOLY CHARACTERS INTO A CIRCULATING TOY, KIM CLEVERLY DISTURBS THE SPECTATORS BY GIVING THE AUDIENCE THE POWER OF CONTROL IN MANIPULATING THE TOY INTO MOVEMENT. WITH SUCH PRESSURE, THE SPECTATORS FIND THEMSELVES TAKING A SECOND GLANCE ON THE INAPPROPRIATELY WHIMSICAL COSTUMES OF THESE ICONS, WHERE THEY FEEL A STRIKE OF GUILT AND REPENTANCE.

THE ECCENTRIC IN ILLUSTRATION, YET RESENTFUL IN ATTITUDE, KIM UTTERS HER VEILED IRRITATION IN THE INFECTED PURITY OF RELIGION TODAY. THE RADICAL CHANGES TAKING PLACE UNDER THE INEXORABLE WEIGHT OF GLOBALIZATION HAS URGED KIM TO DEVELOP A CROSS-REFERENTIAL SUBJECT AND PAINTERLY EXECUTION TO IMPERSONATE THE OUTCOMES OF HYBRIDIZATION; IN OVERALL EFFECT, TURNING A RELIGIOUS IMAGERY INTO A MERE INERT PRODUCT FOR SALE, RATHER THAN FOR WORSHIP.