View In Room
View In Room
Archival pigment print
Edition of 5
Dimensions: 96cm (H) x 120cm (W) / 37.8" (H) x 47.2" (W)
Note: Actual colours may vary due to photography & computer settings.
"This work is a collaborative piece I produced with a traditional fan-making master. Each folding fan was carefully crafted, colored and arranged to complete the scene. Using the traditional motif of the fan, I tried to reinterpret the meaning of true-view landscape painting, through which painters of the Joseon Dynasty sought not to just describe the look of nature but to portray the essence of nature itself. Koreans traditionally painted landscapes onto fans and I, reversely, use the fans themselves to build a landscape, thus juxtaposing the relationship of fans and landscape.
The woods made with paper fans overlapping like fish scales suggest a self-portrait of a gloomy psychology as well as an expression of various complex emotions such as inner fear and anguish that restrain me. Depicting a very fundamental human reverence and fear toward the sublime, dark, and ever changing nature of the night forests and a human being who has to walk her way against it, I tried to look at and get close to my true inner self."
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Based in: Seoul
Whereas traditional photography submits extracts of reality to our eyes, South Korean multidisciplinary artist JeeYoung Lee offers excerpts from her heart, her memory, or her dreams. Restrained by the inherent limits of the conventional photographic medium, she adds plastic creativity and theatrical performance to it, in order to blow life into her immense needs of expression, and interrogation. For weeks, sometimes months, she creates the fabric of a universe born from her mind within the confines of her 3 x 6 m studio. She does so with infinite minutiae and extraordinary patience, in order to exclude any ulterior photographic alteration. Thus materialised, these worlds turn real and concretise : imagination reverts to the tangible and the photo imagery of such fiction testify as to their reality. In the midst of each of these sets stands the artist : those self-portraits however are never frontal, since it is never her visual aspect she shows, but rather her quest for an identity, her desires and her frame of mind. Her creations act as a catharsis which allows her to accept social repression and frustrations. The moment required to set the stage gives her time to meditate about the causes of her interior conflicts and hence exorcise them; once experienced, they in turn become portents of hope.
Recipient of multiple artistic awards including the Sovereign Art Prize (2012), JeeYoung Lee is one the most promising up-and-rising figureheads of the younger Korean artistic world. Following the huge success of her first solo show outside of Korea with OPIOM Gallery in 2014, her work was seen 500 000 times on Reddit in just 2 days and has been featured in the worldwide media from the USA to China (all international editions of the Huffington Post, NBC news, CNN international, France 3 National news, China Daily, etc.). While she has created installations in major institutions all around the world, from San Francisco to Australia via Spain and Singapore, her photographs can be found in international public such as the Kiyosato Museum of Photographic Arts' as well as in private collections around the world.
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