Kobayashi also examines the relationship between martial arts and sexuality, focusing on the queue—a male hairstyle imposed on the Han Chinese by the Manchu rulers of the Qing dynasty. The queue becomes a metaphor for masculine repression and the societal penalties of deviation, including vulnerability and mortality. Kobayashi merges his practice of Wing Chun martial arts with wooden installations that are inspired by the traditional training equipment of Wing Chun and explore the intersection of functionality and symbolism. Their shapes recall the "snaky wooden dildo" forms associated with some ancient dildo that is drawn in Shunga. Kobayashi uses these forms to reflect on their historical purpose—to weaken physical strength and combativeness—while preserving their natural shapes to symbolize a paradoxical pursuit of peace by practicing in the installation as a dojo. Through The Wing Chun Project, Kobayashi challenges his own notions of masculinity, using physical exhaustion as a way to confront and expose the fragility of patriarchal norms and male-dominated social structures. He imagines how Ng Mui—the legendary female founder of Wing Chun—might view and respond to modern society, using her perspective as a lens to explore vulnerability, strength, and inclusivity in both martial arts and contemporary culture.