I M ART is pleased to announce the second solo exhibition of the emerging, Lee Hye Seung from May 1st to June 5th, 2010.
The outer, the inner, and altruistic impact go through the even very little states of our everyday life when it comes to decision making and postponing in daily base. Such diverse process of the in-out bound reflects how the old saying, mountain made of dust, effects one’s emotional interaction with one another. These layers from various ways of choices and no-choices make a difference in displaying of a signal system, a way of communication or expression of one’s ultimate characters. Speaking of it, Lee HyeSeung chooses to empty and delete any trace of this communication system. At a glance, this is where the twisting point of Lee’s work comes in, disguising the works in the style of landscape and cityscape with the visual honesty of the very itself of all objects. Hereby, audience understands how the state of being very itself; stairs, windows, hallways, island and dry branch reveal their selves through a signal system of their own.
Through the second solo exhibition, Lee tries to expand previous series of the in and outdoor scenes, island and volcano. Photos from Japan, Taiwan, Ireland, and Jeju Island gave Lee a fresh idea of identity and a sense of placement different from the experience of study in abroad in Paris and undergraduate days in Korea. In fact, Lee may tries to express the state of un-scene. Among the expression of Lee, there is resonance; permeate; non-violent; still but not set-in; meeting of the opposite surfaces a certain meaning, genesis meaning in the image of moving not stillness. Once again, it is neither exigent nor violent. Like a painting permeating slowly into clothes in a gentle, slow, and soft manner in compassion. Here neither the outer nor the inner, the new space shows; of composure.
Further more, the present of this space or non-present or accepting the sense of its very start at all; this may, in final, show Lee’s ultimate goal to embrace the sensibility of one’s itself. This also presents the state of work resonance, where past, present, and future works meet. In some sense, Lee is a painter who interprets both ways with a style of symbolic and abstractive expression through very realistic direction and object. As the third mirror, artist’s try goes to the zone of resonance basing itself on real place, situation, consciousness, unconsciousness, or un-released third world in any way yet. Finally, audience sees how Lee’s realistically visualized works could represent a pattern of non-story telling even with real scenes and specific places.
In very thing material and strokes of traditional oil painting, not very common in Korea, also shows Lee’s enlongated try and this exhibition includes a body of new works from 2008-2010, around 20 works.
