Imagining the body as a site of fullness— quietly powerful, innately whole, and deeply felt.


Phidia is a Womanist sculptor based between Seoul and Michigan. Working primarily in clay, wood, and metal, she crafts sculptural forms that merge the tactile with the contemplative. Her practice is guided by a desire to shape the most natural and complete possibility of the body—one that does not perform, defend, or fragment, but simply exists in its own integrity.

Raised across cultural contexts, Phidia approaches material not as metaphor but as memory in matter—casting, fragmenting, and layering to reveal what surfaces carry in silence. Each imprint becomes a gesture of presence, softness, and ritualized care.

Her recent figures explore the realm of embodiment—deliberately unmonumental, yet charged with quiet potency. Eschewing clear identifiers, they evoke a grounded sensuality that embraces time, culture, race, and gender through form rather than statement.

Phidia holds an MFA in Sculpture from Cranbrook Academy of Art and a BFA in Painting and Ceramics from Savannah College of Art and Design. She has exhibited nationally and internationally, with recent group exhibitions at the Czong Institute of Contemporary Art Museum in South Korea, Woolf-Day Collective: A Day of One's Own in Australia, the Museum of Contemporary Art of Georgia in the United States, and Nevven Gallery in Sweden. She is a founding member of Pan Asian Art Initiative, a broader art movement toward materially-sensitive practices rooted in both tradition and womanist futurity.

Her sculptures hold the weight of unrealized dreams—those of women whose voices were never fully heard, whose gestures linger at the edge of history. Each form speaks through the coexistence of absence and a presence without an explanation.

The viewer is asked to witness—to feel something begin where language ends.