[2]: 122, 125 Often referred to as a sculptor who creates mechanical life,[3] Choe models the movement of many of his works after living creatures,[2]: 123 [4]: 364  but also fantastically combines elements of different lifeforms.

[2]: 125  Growing up during the Cold War and also watching many science fiction television programs, Choe aspired as a child to build robots that could protect his family.

First inspired by a documentary on antarctic seals who use their front teeth to gnaw through underwater ice, the work's moving ribs meticulously mimic the breathing movements of mammals.

[2]: 125  When exhibited, Custos Cavum was accompanied by a mythical narrative; it describes a guardian creature who gnawed holes between two worlds to keep them connected, until it went extinct.

[5]: 50 Beginning in 2012, Choe turned his focus from pursuing new levels of technical sophistication to social context as he broadened his scope beyond depicting animal-machines to examining power dynamics in contemporary society.

[10] Inspired by Choe’s reflections on North vs. South Korea societies amidst the 2018 Olympics, the work encases group of flowers within four glass walls, which constrains their wave-like movements.

[12][13] Bearing the exhibition's title, the work Little Ark opened questions where humanity is headed while using recycled and repurposed consumer cardboard for its oars.

[13] Works such as One and Red were made of Tyvek—the fibrous material that makes up hazmat suits, notably worn by medical workers during the pandemic, that also looks like Hanji.

[12] In 2022, he was selected to present the ninth MMCA Hyundai Motor Series exhibition at the National Museum of Modern and Contemporary Art, Korea.