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I've always, since my Ontario College of Art Design days, tried to master textile art and design. My instructor was a Korean woman. It was then that I intuitively realized that "Asians" had an inherent dislike of whites. I went to "night school" and took only one course for four consecutive sessions. This course was open to the public and not just OCAD students. It became an issue for her after the second course, but I was paying the $200/course fee. If she had any sympathy for me and my ideas, I would have told her that I was there to use the equipment.
By the third session I had developed many of my ideas. I had briefly started doing the geometric border patterns found in Ethiopian dress, but my models for my work were the historical textiles of the Western World up to the early 20th century. Anything beyond that took on the modernists' "destruction of the image" ideology.
The textile instructor, Chung-Im Kim, who I believe didn't have the rigorous "image-making" background required of textile design - including drawing and painting - vociferously pushed me to "design something Ethiopian." Eventually I came to the course randomly and spent my time - evenings and weekends - in the textile workroom, mixing paints, cutting cloth and printing. I did the blueprints at home on a makeshift IKEA work table.
I wondered later why she never introduced us to the endless list of "white" designers. All artists, however limited their education, at some point come across some textiles which are too breathtaking to ignore. I don't think she was intellectually limited. Nor can she use the "excuse" that she is an immigrant. She had lived in Canada by then too many years to not even have casually wandered across some of these works.
I believe it was (is) this inherent dislike of whites. Perhaps not individual whites, and certainly not the leftist whites which now make up Canada and America who hate "whites" or white civilization themselves, but the white people as a collective, the white civilization, the white mind.
Kim's designs are a combination of these "deconstructed-reconstructed" works of postmodern art and works that reference her Korean/Asian background.
ALL non-whites at some point begin to refer to their ancestral lands for inspiration, artistic or otherwise. And the constant, daily reminder that art created by whites has always been SUPERIOR to their art, from their specific non-European or North American region or country (Asia, South America, Africa, the Caribbeans) must ignite their fury.
And as an antidote to continue "creating" they start to refer to abstractions - geometry, shape and some color (although very few use color and often bland and muted colors) to produce works. Their ethnic references are too far away, and they are too alienated from their current country, and all that is left is the "structure" of the image: its shape, its empty outline.