Combining classicism and modernity in a single-colour work that gains its expression mainly through the repetition of stamped structures is not an easy task. Lee succeeds in this symbiotic combination of opposites. It may be because of her being a Korean woman, who leaves behind her life in Asia to promote her artistic abilities, first to deepen her art studies in Bremen and then in Düsseldorf.

In the end, the onlooker does not care to know out of what this game of opposites, of symmetry and irregularity, of countless repetitions and interruptions of the same arises, for the final works speak for themselves. Often, the artist skilfully combines the advantages of sculptural ways of working with those of hanging wall objects. These are created from clay, resin or natural materials, which she puts together in clear form and arrangement. Lee is not only concerned with the resulting product, but also with the free spaces that arise in her works and are either further processed or already have their informative value as empty gaps.

Lee's work speaks of the experience of repetition of work steps, of the uniform arrangement of materials, recesses and lines that get their lives from the human hand and its irregularity. Thus, Lee’s works tell of a world that, despite the attempt to press its components into norms, is always determined by unforeseen and uncontrollable factors and so only develops its true face. This face is definitely worth a closer look.

– MARCO ALBER, SALVE MAGAZINE, KÖLN, 2018