25 January, 2014

the state of mind of JeeYoung Lee

Sometimes the borders between manipulated perception and reality are somewhat thin. Photography has traditionally explored various mediums and settings to convey the photographers' view, perception or emotions. But when photographs are meticulously staged and environments arranged for weeks on end, then photography loses its artistic position as being the primary means of expressing the artist, and art (either sculpture, painting, or other) comes into the forefront, blurring the separating line between it and photography. Recently graduated from Seoul’s Hongik University in her native South Korea, JeeYoung Lee shoots the invisible. Whereas traditional photography submits extracts of reality to our eyes, the artist 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 imaginary is 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.

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