“Chemin,” 150 x 90 x 4 centimeters. All images courtesy of Galerie Sept, shared with permission
Artist likens her meditative renderings to pathways that prompt the eye to travel along each line. Working with Korean ink and traditional pigments on handmade Hanji paper, Lee’s practice is as contemplative as the resulting pieces, which portray heaving mounds and supple ridges reminiscent of mountains and other land formations. “My universe is poetic,” she tells Colossal, “like an inner journey. I invite you to take a walk, to follow me in these aerial views. They were born from the breath of my Korean childhood, from my eternal taste for painting, my search for life.”
Composed with black and shades of green or blue, the abstracted works are rhythmic and methodical and evoke the texture of thread stitched in precise rows. A central ripple stretching from one end of the paper to the other bisects many of the pieces, with the sinuous markings connecting the two parts. “Each line can be seen as a day, or an instant we have already lived through or that we are still living in,” says a statement from , which represents the artist.
Lee’s experience studying fine arts at Sejong University and her formal training in goldsmithing continue to influence her practice, she says, and the artist often splits her time between Seoul and Paris, although she’s been living primarily in the French capital in recent years. Her paintings will be on view at Galerie Sept’s new space in Knokke, Belgium, as part of a group show opening on April 30. (via )
“Contemplation Bleu,” 100 x 120 x 3.5 centimeters
“Contemplation Gris,” 100 x 130 x 4 centimeters
“Chemin Vert,” 130 x 82 x 3.55 centimeters
“Chemin Gris,” 100 x 140 x 3.5 centimeters
Left: “Chemin Bleu,” 150 x 50 x 3.5 centimeters. Right: “Chemin Bleu,” 150 x 50 x 3.55 centimeters
“Mémoire du Vent,” 148 x 90 x 3.55 centimeters
