Yo Ahn Han's work is a visual dialogue between protrusion and inculcation. His interest in forms where concave and convex shapes meet, like a heel and a hole, comes from the duality and symbiosis that it creates. This duality speaks of suppression and desire. These two states are related to both his experience of periodic uncanny bodily sensations and to the experience of his bifurcated cultural identity. Yo Ahn states: "During my childhood I had to overcome the physical challenge of cerebral arteriovenous malformation. This led to my interest in the body's internal and external beauty in an abject state. Another challenge I have gone through is living between identities. Coming from a strong society of Confucianism and Christianity (Korea), it has always been a taboo for me to deal with sexuality."
In his work, Yo Ahn Han never completely inhabits a territory of certainty. In his working process this translates into fascination with the metamorphosis of a wet surface turning dry, and vice versa. He "makes work that is like a dish that neither contains a meal nor is washed clean, but is between them both." Always drawn to the re-purposing of materials, such as paper towels, leftover paint, and debris, process plays a major role in his work by allowing his paintings to digest materials and culture.