Hyunmee Lee

Hyunmee Lee

My art practice crosses three continents over two decades. The works consider the images and ideas that mark my journey into the spiritual and cultural dimensions of painting as a creative activity. During a period when I have carried adventurous journeys across several different social and geographic divides, I began to search deeper for an understanding of who I am, and where I am. My paintings started to explore the idea of self as the most fundamental element of human nature; I tried to seek my identity as I examined human nature.

In the 80s by moving outside my Korean heritage, I became more aware of the traditions of thought that formed the basis of my life and work. I reflected on Taoism, Buddhism and Confucianism: these are the principles of natural energy in my painting. In Taoism, the main concept is being in the middle, not being judgmental, and bringing forth spontaneously. It reflects my art process of meditation as an “abstract gaze”, which is a certain way of looking and thinking that prioritizes states of formlessness and energy (ch’i). For me, ch’i is the life force that animates and connects things. The resulting energy, or ch’I, helped to explore the idea of self.

The repetition of seeking a harmony between the conscious and unconscious mind is how I destruct the existing order to make formless space, I try to keep the rhythm continuous. This is where I find my creative mind; “In the immediacy of gesture,” especially the “moment when the gesture finds its own power.” As I have always been more interested in the substance of the brush stroke than its symbolism; I am concentrating on spontaneous gestures. At this time in my life, while I am not connected to the outside world, I have chosen to create a world of my own, where I can find the inspiration I am looking for. I find these moments of ‘making-earth’ at the time when the gesture finds its own power.

In the painting process of recent work, the contemplation of the spirit embarks on to the canvas. I try to apply principles of natural energy as directly as possible, through spontaneous gestures, yet with conceptually labored layers. I also emphasize an Eastern concept; "bringing the outside in to the centered self" - the opposite of the Western view, which tends to project the self outward upon nature. I more enjoy the simple monochromatic space: impulsive black strokes in earth or charcoal tones, with engaging subtle colored background. I do not want the viewer to have any instant or prejudiced thoughts from my painting. I expect the viewer to let himself respond emotionally to the abstract shapes, conceptual colors, lines and layers as well as to the way these elements are shared and related to each other. The freedom I have in my work reflects the freedom I also feel in my own life.

The newest works, “Native Mumbling”, as one of the titles in 2010-11, has the continuous theme that I have been working with since 1986. But my paintings have carried different titles: The Metaphysics of Being (1986- 88); First Face (1989-92); Objecthood-Intrinsic Space (1993-95); Seeing Through the Self (1997-98); Empathy Through the Window (1998-2001); Mountain Armatures (2001-02); Chunji-Changjo (Creation series, 2003-05); Outside Sight (2006); Foreordained Gesture (2007); and Inland Island (2008-); Native Mumbling (2010-). “Native Mumbling” is a personal arrival to a meditative state where the Korean letters become gestures.

Each period of work has been an exercise in personal exploration and learning, and preparation for another journey, relating to the human’s inner mind; that is a balance of empowerment and meditation, without using recognizable symbols, which relies on gesture.