The riddle-like ambience of Chung's gloves seems to arise from the ambiguity which flows from the coexistence of indication and existence. The travelling gloves of Max Klinger and the display of the gloves of De Kiliko together with a statue of Apollo show the artist's fascination with the ambiguity of gloves.

Her attraction to the gloves of Western artists is a distinct feature of Chung's glove collectiong's, and it is there that we find the unique mechanism embodied in the reciprocal detonation between indication and existence. In Chung's work, the significance of the act of indicating is not so much in what is being indicated as in what is indicating. Is this because the function of the theme which is trying to indicate something is more important than the objective, centripetal expression of the purpose? That is, the artist is trying to express the inherent existence of the act of indication within that which is indicated. Or to put it another way, one could say that the theological and aesthetic thesis which runs throughout Chung, Kyoung Yeun's work asserts the idea that "existence is revealed in the very actions of the person who is trying to indicate it"

In the very act of indication, the ardent yearning for that which is indicated(existence) is a desire to unite with a religious of artistic expression, and explains why Chung's works have, with the passage of time, become more three-dimensional and harder and moved in the direction of bronze sculpture. I believe the strength of this artist's desire to indicate existence has ultimately caused her to demand the solidity of existence has always been a significant avenue for the realization of the expression of truth through the formal arts. The art of Chung Kyoung Yeun may have begun in her unique glove technique, but now she has turned in the direction of this new avenue, and she is moving ahead, striving to go beyond this distinction.