Jee Young Lee bulits non-photoshopped scenes»Stage Of Mind»

NightmareΣτα χνάρια της Sandy Skoglund που έφτιαχνε μόνη της χρόνια πριν την ύπαρξη του photoshop σουρρεαλιστικά σκηνικά βάσει των φωτογραφικών της concept,η Κορεάτισσα Jee Young Lee δημιουργεί παρά την ύπαρξη τεχνικών μέσων όπως το photoshop τα δικά της σκηνικά.Η προετοιμασία του σκηνικού κράταει εβδομάδες ή και μήνες ώσπου το μικρό της studio των 360 x 410 x 240 cm να μεταμορφωθεί στο σουρρεαλιστικό επιθυμητό περιβάλλον.

Επηρρεάζεται από Κορεάτικα παραμύθια,έργα του Σαίξπηρ,την παιδική της ηλικία.Το ιδαίτερο χαρακτηριστικό αύτης της φωτογράφου είναι ότι κάπου στη μέση της φωτογραφίας μπορείτε να ξετρυπώσετε την ίδια εξυπηρετώντας κάποιο ρόλο σ’αυτήν,δημιουργώντας αντισυμβατικά ατομικά πορτραίτα,αποδεικνύοντας τελικά το ταλέντο της όχι μόνο στη φωτογραφία.

Η έκθεση που φέρει τον τίτλο «Stage Of Mind» θα λάβει χώρα από τις 7 Φεβρουαρίου έως τις 7 Μαρτίου του 2014 στην Opiom Gallery,στη Γαλλία.

Inspired by the Story of Shim Cheong, a Korea folktale as well as by Shakespeare’s Ophelia, Lee JeeYoung made this installation by painting paper lotus and flooding the room with fog and carbonic ice in order to create a mystic atmosphere.
Inspired by the Story of Shim Cheong, a Korea folktale as well as by Shakespeare’s Ophelia, Lee JeeYoung made this installation by painting paper lotus and flooding the room with fog and carbonic ice in order to create a mystic atmosphere.
Treasure Hunt is based on the artist’s childhood memories. Lee devoted three months to crafting the lush multitude of wire leaves – it evokes a child-like wonderland.
Treasure Hunt is based on the artist’s childhood memories. Lee devoted three months to crafting the lush multitude of wire leaves – it evokes a child-like wonderland.
Contrasting with Lee’s legend- and literature-inspired moral messages, Panic Room is also based on the artist’s childhood memories. Amidst Panic Room’s swirling patterns, objects fly off in all directions in an absurd dizziness.
Contrasting with Lee’s legend- and literature-inspired moral messages, Panic Room is also based on the artist’s childhood memories. Amidst Panic Room’s swirling patterns, objects fly off in all directions in an absurd dizziness.
Broken Heart makes visual the Korean expression “like breaking a stone with an egg” – an ineffectual effort against insurmountable adversity.
Broken Heart makes visual the Korean expression “like breaking a stone with an egg” – an ineffectual effort against insurmountable adversity.
This piece is based upon a Korean fable in which a tiger chases desperate children into a well. A god lowered a rope from the sky by which the child escaped, but when the tiger cried out for help, a rotten rope was lowered, condemning the tiger to a miserable fate. Painted traditional fans are meticulously arranged as a whirlpool, while a hand emerges from its eye to grab a rope hanging down from above; hope can save oneself from even what can appear as the most desperate situation.
This piece is based upon a Korean fable in which a tiger chases desperate children into a well. A god lowered a rope from the sky by which the child escaped, but when the tiger cried out for help, a rotten rope was lowered, condemning the tiger to a miserable fate. Painted traditional fans are meticulously arranged as a whirlpool, while a hand emerges from its eye to grab a rope hanging down from above; hope can save oneself from even what can appear as the most desperate situation.
any pipe lines crawl on the building walls of the artist’s neighborhood in Mangwondong (Seoul). Forming checkered and intertwined structures, rather than being merely straight, pipes creep up the exterior of a building and connect each space within it; whether for gas or water, they play a delivering-in-and-out role and function as a sort of passageway. From this angle, they appear to the artist as elements of nervousness and danger which she associates with social interactions and communication. Complicatedly intertwined, much like a maze or obstacles in a hurdle race, they remind her of the potential misunderstanding, anxiety or disappointment to which misunderstandings can lead to. The difficulty of such interactions is highlighted by the black and yellow PVC pipes, usually inherent to danger warnings in industrial sites or traffic and road signs. In addition, steam generated by a fog machine connected to the pipes symbolizes the moment of conflict and clash in relationships and communication. A black dog slowly walking out of the frame in this autobiographic piece indicates a specific person who inflicted pain onto the artist. Or, as she suggests, it may represent others in general as opposed to the woman in the back, who is the artist herself.
any pipe lines crawl on the building walls of the artist’s neighborhood in Mangwondong (Seoul). Forming checkered and intertwined structures, rather than being merely straight, pipes creep up the exterior of a building and connect each space within it; whether for gas or water, they play a delivering-in-and-out role and function as a sort of passageway. From this angle, they appear to the artist as elements of nervousness and danger which she associates with social interactions and communication. Complicatedly intertwined, much like a maze or obstacles in a hurdle race, they remind her of the potential misunderstanding, anxiety or disappointment to which misunderstandings can lead to. The difficulty of such interactions is highlighted by the black and yellow PVC pipes, usually inherent to danger warnings in industrial sites or traffic and road signs. 
A black dog slowly walking out of the frame in this autobiographic piece indicates a specific person who inflicted pain onto the artist. Or, as she suggests, it may represent others in general as opposed to the woman in the back, who is the artist herself.

Last Supper

Maiden Voyage

The Little Match Girl

Black Birds

Food Chain

Χαρά Κ.

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