In the early 1990s various trips took Jungjin Lee into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth, and cactuses.

Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things, and Wind, in which her fundamental interest in nature and culture is expressed in a space of poetic resonance.

In her work, maps her profound understanding for materiality, texture, and craftsmanship.
Working with Liquid Light, she applies photosensitive emulsion onto rice paper with a coarse brush.
The publication presents eleven groups of works, commentated and contextualized in essays by Lena Fritsch, Hester Keijser, and Liz Wells–providing, for the very first time, an overview of an oeuvre spanning two decades.

Published on the occasion the exhibition at Fotomuseum Winterthur, September 17, 2016 till January 29, 2017.

In the early 1990s various trips took Jungjin Lee into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth, and cactuses.
Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things, and Wind, in which her fundamental interest in nature and culture is expressed in a space of poetic resonance.
In her work,0aps her profound understanding for materiality, texture, and craftsmanship. Working with Liquid Light, she applies photosensitive emulsion onto rice paper with a coarse brush.
The publication presents eleven groups of works, commentated and contextualized in essays by Lena Fritsch, Hester Keijser, and Liz Wells–providing, for the very first time, an overview of an oeuvre spanning two decades.

Published on the occasion the exhibition at Fotomuseum Winterthur, September 17, 2016 till January 29, 2017.