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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