The artist tries to give viewers some impressions with a hint of discomfort.
“At first slight, it looks like a kid wearing an animal suit, but I want viewers to sense something odd in it and to look closer. I always try to create a space with conflicting images instead of ordinary portraits. I take extra care not to draw real children.”

An oneiric fascination with the terror and awe implicit to scientific discovery informs Yong Ho Ji's sculptural practice, for which the artist plays dual roles of skilled artisan and mad doctor. Meticulously layering cut strips of tire as the flesh for his "mutants," Yong Ho Ji models his creatures after endangered animals, mythological beings, and humanoids akin to his favorite superheroes. Underlying his unique brand of science fiction monster making is a startlingly specific, poetically lucid, ethical critique of genetically modified organisms (GMOs), based on his skepticism towards those "who seek to challenge nature by creating an entirely new form of life through modifying genes of animals, plants, and human beings." Scientifically speaking, Ji's mutants are emblematic of Darwin's evolutionary theory, which states that mutations may evolve species better adapted to their environments.

The pop icon images are tired and Warhol’s time capsules have had their fifteen minutes of fame. These boxes reek of stale superstardom, copies of copies that once shook institutions. These are a rehash, if not a reboot. Against all odds, we are taken back to where it all started, the 16th century European development that is the Wunderkummer - the cabinet of curiosities. These artist’s cabinets of curiosities - fragments of a culture he has lived in and within - consist of plaster casts of idiot boxes and soda bottles, and copies of popular culture at their kitschiest, packed together tight under the guiding principle of a personal aesthetic. In between the public spectacles are ritual boxes full of thingamajigs - from amulets, to feathers, to rice grain and dried up bladder, to betel nut - used for rituals of the Northern tribes of the Philippines.