When she is working on her picture books, she is like a researcher. Once she comes up with a question to throw at the world, she begins to gather a variety of materials and starts her detailed observations and research. When her methodology is established, she focuses on experimenting and finally her original resolution is born through the picture book. This may be related to her scientific background. However, the reason behind her work being reinterpreted and receiving attention in various media including movies, animated films, and plays is because many people relate to and are persuaded by the questions she asks.

Her earnest position towards her surroundings in Korea, a country that suffered colonization, dictatorship and division into two nations led her to act socially as an artist. Her usage of Buddhist Art or traditional Korean art techniques and materials in her work is also part of her search to find identity as an artist. Her early works Manhee’s House and Tools and Work, are transitions from the artist’s macroscopic view, participating in the social art movement, to the microscopic view drawing daily life such as family and neighbors. Her later work Flower Granny covering the issues of the so-called “comfort women” is a return to a macroscopic perspective on life. Moving freely within her views, she shows that whether something is ordinary or has public value, everything should be respected as for the precious values they embody. Her picture books are a reflection of this worldview. 

Thus, her readers may always be a little nervous in front of her picture books as we are curious to see what new message she would like us to understand.