Yoon Lee, …the end of the world


Hard-Boiled Wonderland (San Francisco) | Acrylic on PVC panels | 72 x 144 in | 2018

Yoon Lee, …the end of the world

January 25 – February 23, 2019

Opening Reception 
Friday, January 25 | 6-8 pm
the luggage store | 1007 Market St. (@6th) SF, CA 94103
Gallery Hours 
Wednesday – Saturday | 12-5 pm and by appointment

Artist Talk
Saturday, February 2 | 2-3 pm

More info coming soon.

Yoon Lee was born in Busan, Korea and grew up mainly in Southern California. Her paintings incorporate sweeping motion often set against, and moving through, more static architectural and urban forms such as highway-like structures, bridges, among others.

Lee develops her compositions by bringing together elements as diverse as images that she’s compiled from popular media, her own sketches, and photographs she’s taken of man-made structures. She scans all of these elements into the computer and uses various filtering mechanisms to manipulate the forms and capture the sense of motion in them. Whereas futurists attempted to capture the physical sensation of motion and speed of the newly invented automobiles and airplanes, Lee attempts to convey the sense of chaotic activity, intensity, and speed of contemporary life—not only in the physical world but also as experienced in the digital realm. She notes—

“The allure of synthetic materiality in my work is close to that of confectionaries and shiny plastic items that have inundated our culture. This connection between the work and consumer goods reflects my interest in consumption as a strategy to assuage urban anxiety. My work addresses the relationship between this anxiety and the speed in which information and signals travel through space. The convergence reflects my vision of contemporary reality—complex and fraught with chaotic activity and information overflow; often invisible yet bounded by a sense of physical order.” (Lee, 2009)

To achieve this Lee has conceived a unique way of painting which combines technology and meticulous handwork—both elements being integral to her paintings. Her use of digital technology has allowed her to bring a sense of speed and facility to the paintings and yet her actual painting process is slow and meticulous. From a distance her paintings appear spontaneous and perhaps even mechanically produced but, upon closer inspection, the labor-intensive process she employs to make them is evident in the textured layers of paint. Her paintings bring to mind a kinetic combination of Pollock, Lichtenstein and Al Heald—dithered dot matrices and swirls depicting deep space-like environments.