The hybrid character of Emmerich's paintings is not restricted to the method of their making. It reflects her background as a Dutch woman of Southeast Asian heritage with Chinese and German roots. Mingling references appropriated, unfolded, and processed throughout her career, Hadassah Emmerich includes allusions to her upbringing in the work. These presences go from the batik technique, whose principle she could be seen to use in reverse through the imprinting method, to the silhouettes of Wayang, the traditional Indonesian shadow theatre, whose essence is distantly recalled as shapes in movement.

The kaleidoscope of Hadassah Emmerich's paintings suggests lustful profusions that engage the outlines of tropical flowers, fruits and plants while insinuating bodily parts and erotic elements. The appeal to the logic of resemblance and approximations in these works allows reflections, diffractions and distortions as welcomed deviations, forms of visual dissent. When put in relation, elements that wouldn't typically be perceived as belonging to the same context snap together, sparking zones of confrontation and pleasure.