In her work, Romy Yedidia reflects on the influence of capitalism and misogyny within Western society, as well as the subsequent pressure to conform to gender norms. Mass-media's objectification of women and their common portrayal through the male gaze, exacerbate gender tropes, leading individuals, including Yedidia, to internalize these stereotypes as an objective truth. Drawing from Sandra Harding's feminist standpoint theory, the artist challenges the notion that objectivity exists, asserting that it often serves patriarchal structures, while marginalizing non-dominant groups.
Yedidia acknowledges the systemic oppression ingrained in societal standards, particularly affecting women and marginalized groups. Citing Legacy Russell's concept of "flattening", she explores the violent othering of non-dominant identities. To echo this violence, the artist employs molds as amethodology, embodying the pressure to conform to societal expectations
Utilizing architectural materials like concrete, metal, and plaster, Yedidia symbolizes the inflexibility and imposition of patriarchal structures. The repetitive process of molding and casting renders the cyclical nature of conforming to gendered expectations, while producing impressions that are witnessed by others who might feel the pressure to follow. The artist is interested in the dichotomy of the mold, believing it is a site in which both pain and pleasure reside. Often, the mold is oppressive and cruel, but simultaneously, fitting init could also lead to satisfaction, comfort and familiarity.