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Stage of Mind
JeeYoung Lee, 13 September 2020 - 31 July 2021

Stage of Mind: JeeYoung Lee

Past exhibition
Open a larger version of the following image in a popup: JeeYoung Lee, Nightscape, 2012
Open a larger version of the following image in a popup: JeeYoung Lee, Nightscape, 2012
Open a larger version of the following image in a popup: JeeYoung Lee, Nightscape, 2012
Open a larger version of the following image in a popup: JeeYoung Lee, Nightscape, 2012

JeeYoung Lee South Korean, b. 1983

Nightscape, 2012
Series: Stage of Mind
Archival pigment print
96 x 120 cm
37 3/4 x 47 1/4 in
Edition of 5 plus 2 artist's proofs
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Further images

  • (View a larger image of thumbnail 1 ) JeeYoung Lee, Last Supper, 2011
  • (View a larger image of thumbnail 2 ) JeeYoung Lee, Last Supper, 2011
  • (View a larger image of thumbnail 3 ) JeeYoung Lee, Last Supper, 2011
  • (View a larger image of thumbnail 4 ) JeeYoung Lee, Last Supper, 2011
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'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...
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"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."
_Lee JeeYoung
"Ce travail est le résultat d'une association avec un maitre en fabrication d'éventails traditionnels. Chacun de ceux ci a été méticuleusement réalisé, coloré et mis en place pour compléter la scène. En utilisant le motif traditionnel de l'éventail, l'artiste réinterprète la signification des paysages traditionnels coréens basés sur le Fengshui durant la dynastie Joseon et dont le but, au-delà de leur aspect figuratif, était d'évoquer l'essence même de la nature. Ces paysages traditionnels sont peints sur plusieurs éventails qui une fois juxtaposés, s'articulent en une peinture de plus grand format.Ici, l'agencement des éventails évoque un bois dont les motifs sont réminiscents des écailles de poissons. L'artiste associe cet animal à une psychologie maussade ainsi qu'à l'expression d'émotions complexes et variées comme cette peur et cette colère intérieures qui semblent parfois l'empêcher d'avancer. Par ailleurs, elle ajoute qu'en se positionnant au coeur de cette forêt nocturne, changeant, voire sublime, elle décrit sa volonté d'aller au-delà des peurs fondamentales de l'être humain pour une nature dont l'aspect sauvage peut susciter des terreurs et de se confronter de près à la quête de soi."
_JeeYoung Lee
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