Soo Kyoung Lee is a franco-korean artist who lives and works in Paris and will be in residency in Korea in the summer of 2012.
http://sookyounglee.blogspot.fr/
The painting of Soo Kyoung LEE is like the result of a consciousness submerged by colour. If we associate its monochrome surfaces with the sea, its consciousness would be the tumultuous wave. The alternation between the chromatic choices, her gestures and what they ask for in corporality escapes a clearly definable process.
The unpredictable work of Soo Kyoung LEE can be compared to life in the sense that it doesn't follow a programmed path (unexpected events, the complexity of our encounters and separations, successively guide our choices in different directions, onto different paths). Thus, the brush traces that can be found in her recent work bear witness to successive moments of awareness. Time seems to accumulate, as if inhabited by a forceful presence. It is this presence of the being in its relationship with time and space that ties and unties the gestures of the painter to the canvas. Its traces are like the paths of a life.
The accumulation of complementary colours on a single background colour, produces a strong effect of contrast. His gestures are progressively gathered in masses, like twists of multicoloured ribbons. These lines appear on the surface but are quickly submerged under the surface being worked. These phenomena, built by magnificent harmonies, stimulate the imagination of the watcher and procure different frequencies of energy. Nonetheless, the sums of lines of all colours are neither definable, nor comparable to nameable forms. They are forms that exist in their own right with none of them designating an existing form. A mass of certain colours can remind us of the kernel of a nut, the human heart or even the brain, but in fact it does not represent anything, and these are simply ideas of associations. This is why the painting of Soo Kyoung LEE is pure abstraction.
Yoon Jin Sub, Art Critic and Professor at Honam University in Korea (extract from the exhibition text)
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