he Cheryl Yun Collection is a range of image-based sculptural objects or "products," from handbags to clothing, which simultaneously mirror and subvert fashion and consumer culture to reveal, question, and reevaluate one's relationship to the world.

The Cheryl Yun Collection handbag series is handcrafted and features newspaper photographs of tragedy and catastrophe, religious and political conflict, as well as issues of beauty and control. The form of the handbag references the latest trend, and the image archives the headline image of tragedy or catastrophe. Begun in 2002 the artist periodically updates the collection with the most recent bags and events. The fragility of the newsprint over time reflects the superfluous quality of consumerism and fashion, but on a deeper level speaks of the transience of one's identity.

The Cheryl Yun Collection: lingerie and bathing suits is an image-based series of underwear, which questions the "victims" and "aggressors" of our current political, economic and religious conflicts. The underwear is influenced by images of suicide vests found online and in the newspaper. The photographs are appropriated from the New York Times and online media sites, scanned and manipulated by inverting, mirroring, repeating and patterning to create a complex visual fabric. The process exaggerates the historic treatment of documentary photographs as well as the current manipulation and censorship that exists in our society. The most recent series of string bikinis focuses on guns, gun violence and war. Concentrating on the events in Newtown, Yun juxtaposes her four-year-old daughter's painting with images of Lanza's Bushmaster. The resulting fabric is beautiful and sorrowful but at the same time disconcerting. The garments represent our fragmented position between passivity and aggression, desire and repulsion, and good and evil, becoming substitute sites for hostility on the local as well as international level.

The Tapestry series of photographs are samples of "textiles" that are created from manipulated imagery found in the media. The patterned image is beautifully provocative, creating a tension and contrast with the subject matter, which includes photographs of tragedy and catastrophe, religious and political conflict, the multiple sides of protest, and the contradictions of our financial crisis. The photographs are appropriated from the New York Times and online media sites, scanned and manipulated by inverting, mirroring, repeating and patterning to create a complex visual fabric. The process exaggerates the historic treatment of documentary photographs as well as the current manipulation and censorship that exists in our society. The textile samples are printed on a highly glossy substrate that references early Cibachrome with strong ties to advertisement and commercial production.