“I understood that she is an ‘other,’ becoming inexperienced and unique,” Hein Koh advised us in our recent Spring 2022 quarterly. “As an Asian-American feminine artist weirdo, I am so employed to remaining a minority that I do not consider too substantially about it on a everyday foundation.  On the other hand, the way I navigate the world is exclusive to my id, and that comes by way of my vegetal gals way too. They’re relatable, though—I don’t want them to enchantment just to a small niche viewers, I want their activities to be collective and universal.”

The Broccoli character is the star of the demonstrate, literally, at Anton Kern in Koh’s latest solo show, On the Edge of Precipice. As the gallery notes, “Sometimes becoming a member of the Broccoli woman in this body of work is a new character, The Shadow. It functions in a number of means: as equally a partner for her to interact with in the Jungian perception of one’s very own shadow (and experiencing it) and as a metaphor for the plan of aging and turning out to be a shadow of one’s former self. The darker character of the get the job done is grounded, nevertheless, in a elementary optimism. The Broccoli girl accepts, even embraces, her shadow. Furthermore, Koh is unafraid to specific the dread and uncertainty of middle age, the disillusionment that can arrive with all that goes on in the planet right now, and the existential queries that come up as a result. The Broccoli lady is on the edge of a precipice, but there would seem to be anything new and enjoyable outside of it.”





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