Among her most famous works is a series made from ceramic parts discarded by master ceramists in Korea. As is the case with Translated Vase (2009), found porcelain pieces fit to each other like an odd puzzle or complex mosaic structure. What emerges is incredibly beautiful: convex and concave patterns that expand into space like a cluster of cells growing exponentially, or a complete, anthropomorphic form. Each edge is secured with epoxy and lined with 24-karat gold leaf—a decision that is as much aesthetic as it is functional. This network of gilded lines outline where connections were drawn in the porcelain, effectively highlighting steps taken in Yee’s process. They also function as a linguistic reference, as the Korean word geum means both gold and cracks. Like works executed across other media, Yee fuses form and concept quite successfully here, crafting a piece that is at once visually resonant and profoundly appealing.