藝術家在參訪韓國一位白瓷名匠的陶窯時，發現了被隨意堆放的瓷器碎片。在自尊心強烈的陶藝家眼中，這些碎片只不過是失敗作品的殘骸，但在藝術家看來，這些碎片看似尚未充分體驗一己的生命便已支離破碎、遭到禁錮的可憐存在留下的傷痕，藝術家像縫合傷口般，以傳統的修復方法，用純金熔接這些碎片。這些作品奇異的形態，讓人聯想到因不正常細胞分裂而產生的腫瘤，或畸形增生的人體器官，但它同時又有著白瓷的紋樣及美麗的乳白色，而創造出奇特的美感。
從小碎片到相對完整的瓷器形態，此種精心接合的舉動，使人聯想到醫生在手術台上縫合被切開的身體時，那種精巧而崇高的勞動。此外，藝術家將瓷器碎片重組的過程，不僅是讓即將逝去的東西重獲生機，更像是一種賦予已逝之物新生命的巫術。

During a visit to a Korean porcelain master's workshop, Yeesookyung discovered discarded porcelain fragments. While these pieces represented failed works to the esteemed master, Yee saw them as unfulfilled objects, broken and discarded before realising their purpose. Employing traditional kintsugi techniques, the artist uses gold to join these fragments, metaphorically suturing wounds. The resulting grotesque forms evoke tumours grown from abnormal cell division or malformed human organs. Yet, these works retain the pristine white beauty of porcelain, creating a unique sense of uncanny aesthetic.
From disparate fragments to a cohesive porcelain piece, the exquisite binding process evokes the delicate, noble work of surgeons as they suture open bodies in operating theatres. By reassembling porcelain fragments, the artist not only revitalises discarded objects but also metaphorically resuscitates them, as if practicing witchcraft.