Jin Han Lee

Landscape With A Spiderman 2.3, 2011, acrylic, oil, and sticker on linen, 227 x 182 cm.

Supersaturation, 2011, oil, acrylic, gouache, glitter, and masking tape on canvas, 250 x 200 cm.

Peeps, 2010, oil, acrylic, gouache, glitter, masking tape on canvas, 152 x 122 cm. 

West Sea Aquarium, 2010, oil, acrylic, gouache, glitter, and making tape on canvas, 160 x 200 cm. 

Smurfette, 2010, acrylic, gouache, glitter, masking tape on canvas, 180 x 140 cm. 

Yellow Submarin, 2011, oil on linen, 200 x 250 cm. 

Within The Sky, 2009, acrylic, gouache, and masking tape on canvas, 72 x 101 cm.

About The Artist 

I have a curious regard for the history of art.  My painting practice is unusual in that, I seek to undermine both the Renaissance perspective and the flatness of Modernism by combing both.  I challenges what we know of the figure/ground relationship as presented by the two major genres of European art history of the last six hundred years.  The Renaissance perspective deceives a viewer into thinking that they are looking at a ‘real’ world of objects in a space that meet at a central vanishing point.  However, what the viewer really sees is framed version or slice of the real world, a flat pictorial representation.  I am lulled into believing that the scene on the painted surface on the flat object is the same as actually standing in front of that which is being depicted.  With Modernist space, the picture plane is no longer a representation of a scene in the real world of objects, but becomes the object of contemplation itself.  This means that the painting and the paint, which is placed upon its surface references nothing but itself as an object.  The painted surface, which references itself, is the site of expression without any need of pictorial figuration. I see both as ‘representations’, and uses the Renaissance perspective and Modernist flatness simultaneously.  By painting and applying masking tape, loud coloured ground and object allow for a floating signifier to pass across the surface, I juxtapose the Renaissance background space with its obvious vanishing point and a Modernist object as a digitalised pixel images or painterly gestures themselves.

Jin Han Lee’s Website

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