In January of 2022, I made a breakthrough work that would depict a hypersexualized, nude Korean woman with cats sitting on top of her, utilizing drips and transparent glazes that I learned from watercolor class. In Korean Interior I, the cats signify the little boys fighting for the mother’s love and nurture. The interior of the painting is specifically Korean, occupied by Korean vases that are made transparent to show more of the architecture. The woman and the cat on her breast are the main protagonists, as I identify with both, alternating between masculine and feminine personae.