Joon Young Choi's work depicts nature manipulated and commodified by humans. He draws inspiration from the Trojan Horse in Greek mythology, where the Greek army used the Trojan Horse to invade Troy. Similarly, he is engaged in the task of portraying the Trojan Horse necessary for humans to invade nature when it is manipulated. He depicts in his work the process in which the majority of natural substances are manipulated and transformed to cater to human taste and sold as commodities. Many animals are conveniently modified by humans, and even specific genetic traits are extracted. Although no one knows what will happen when these manipulated natural elements return to nature, the Trojan Horse is now attempting to move.
"Behold, huge fabric which the Greeks employ
With winding ivy-twine, their frauds to shroud;
Nor, though suspicions are alert, shall Troy
Escape the dangerous snare. 'Tis heaven's own aid
The very gods from heaven have decreed
The fall of Troy and its complete destruction."
(Virgil's "Aeneid"-Book II, lines 15-19)
"The gates fly open; all are filled with joy,
And Troy receives her unsuspecting guest.
Here Neptune's image, high in air upborne,
Seems, by his nod, to shake the solid ground,
And burst the bar that kept the city barred.
They draw it to the citadel, and crowd
With joyful throngs around its towering height."
(Virgil's "Aeneid"-Book II, lines 243-248)
Joon Young Choi's work is composed of printmaking techniques, with a focus on intaglio and screen print methods. As he works, his utmost effort lies in delicate depiction, emphasising the connection between various elements, aiming to instil in viewers the conviction that the objects within the artwork could exist in reality. His works consist of refined and sharp lines, giving the impression that the various objects in his works are controlled by humans. He takes pleasure in the moment when the cold metal plate, during the process of engraving, aligns with the temperature of his body, as if becoming one, and he works with joy.