Solo/Duo
Lee’s new exhibition, Demian, at Makasiini Contemporary marks the artist’s first solo exhibition in Europe. The title of the exhibition refers to the novel written by Hermann Hesse, which is about navigating oneself in the world that is believed to consist of two different kinds— the good and the evil. However, ultimately through the novel, the protagonist realizes it is their own perception, likewise their illusion of the world. Lee relates the idea in the book to the gray areas in our reality which has always been her interest, and mentions that certain social circumstances such as polarization in Korea especially in her generation, is one of the factors that influenced her paintings, as well as her genuine curiosity and admiration in how each one has their own universe of values. Lee’s works invite the viewer to contemplate one’s own values regarding, but not limited to, womanhood and female desire, as can be seen in certain paintings that involve female bodies.
Everything, and nothing but sunscreen
Recently at an artist talk at another gallery in town, the artist, a figurative painter, thanked me publicly for having been among the people in the art scene to have pushed for figurative painting at time when its presence was evidently very scarce. It’s been soon ten years since the first headlines in international press began seeing daylight announcing the "resurgence of figuration", after which point, they just never stopped coming. If a pendulum swings "cyclically" between abstract and figurative in art, I surprise even myself with the irony of how much I’m really longing for more abstraction in art again, so much so that all I really wanted during an Easter trip to the US was to devour in the abstract female "trifecta" that is Helen Frankenthaler, Grace Hartigan and Joan Mitchell.
Interestingly, the one out of the three I did not get to see this time, and whose painterly spirit is evoked significantly by the work of Kyungseo Lee is Frankenthaler. Lee’s abstract register is "loose", stretchy and free, and not confined to one mere signature style permeated stubbornly through each of her paintings. This is evidenced by the fluid oscillation from at times a more unison palette saturating the whole surface (the fiery reds!) or the sunny mango or zesty yellows more boldly interjecting darker areas with vivid brushstrokes and gestures of starker colours. Lee at times exhibits restraint and suffices with lighter concentration amid naked surfaces, closing in on the colour field tradition of Frankenthaler, rather than bouts of full spontaneity.
Lee’s work invites modes of looking and interpreting, and while the abstract landscapes certainly are there too, as a fan of eroticism in art it is the concealed voyeuristic windows that have the strongest hold on me. While Lee to some extent evades binaries of "masculine" and "feminine" in abstraction; supple figures and tender gestures acted out by an arm or the soft gaze on a face that begin dawning before the eyes are what disintegrates the work from more masculine undertones/overtones of abstraction. I’m able to find two kinships in this regard; I think of both Celia Hempton and Cecily Brown; two painters who successfully have prompted forward corporeal eroticism in contemporary painting. Lee’s work certainly is less confrontational and demurer than Hempton in terms of the male and female sex overtly on view, but her Sweet Regrets unmistakably bears aspects of both these painters.
In a certain visual culture that I’m part of where "face down, behind up" is a normalized greeting between individuals, and nothing is left to the imagination in dating image grids anymore, this painting is rather and very titillating to me. Titillation comes down to the right amount of suggestive allusion and "modesty" to crave and fervently look for more than you are getting in an image. To have your curiosity spiked up so much that you can’t stop looking.
The recent years have forced me to look so much that I think for a while now, I’d like to be looking, without looking, if you know what I mean?
– Ashik Zaman, 2024
Carnalia
Blueshop Gallery,
London, UK
London, UK
14 MAR - 31 MAR 2024
Blue Shop Gallery presents our very first duo show at our new gallery space that opened in November 2022. ‘Carnalia’ is a duo show between two young artists based here in London. Kyungseo Lee depicts the body in paint as it drifts from figuration to abstraction with a twist of eroticism and self reflection. Constrastly Hannah Lim creates miniature delicate limbed vessels made from polymer clay and jesmonite, her beautiful family of legged snuff bottles seem to be temporarily holding their breath before, when the viewer’s back is turned, hopping off their artist crafted shelves.
Carnalia is a figurative show celebrating the relationship we have with our own identity, our own flesh, the space that we inhabit and all that inhabits us. Following International Women’s Day and Mother’s Day this duo show falls like a blanket after a time of reflection thinking about the modern role of women in our society and across the world. Hailing from Korea and Singapore respectively these two artists use the body to tell their individual stories. The name ‘Carnalia’ links to Carna, a name meaning ‘Goddess of Flesh’.
- Ocki, Blue Shop Gallery Director, 2024
Love Me/Love Me Not
LKIF Gallery
Seoul, Korea
Seoul, Korea
9 MAY - 30 MAY 2021
Lee Kyung Seo(b.1995) uses human figure and its gesture as a presentment of feelings. Depicting anonymous characters with underlying narrative driven by inner feelings such as intimacy, confusion, conflicts, and relationship itself, the artist deliberately makes her protagonists void of sexual identity, which makes the viewer to focus more on his own response to emotional content of each painting. Lee starts the painting without any primary sketches. The painting goes through many phases of spontaneous brush strokes in a rhythmical manner. All the marks and traces are mixed, overlapped, clashed, covered and finally converged just like how we wrap up our minds. The artist projects this tides of emotions onto the viewer and allows for multiple points of view. “My paintings are rooted in ambivalent minds from everyday occurrence. It would be better if all relationships, all causes and effects, and the reasons are clear enough. I often face that ambiguous sentiments that cannot be clearly distinctive like 0 and 1 in computers. To process those feelings, I have kept my spontaneous style on canvas and follow my emotional path. It is similar to when we write in pencil. We write, rub the pencil marks, and rewrite. Each painting is a container of all emotional phases and marks. Playing with colors and figures, the meaning and nuance are incessantly changed until it’s finished.”