Founder of the Japanese Mono-ha and Korean Dansaekhwa Modern art groups of the 1960s-1970s, painter, sculptor, writer and philosopher Lee Ufan presents new work which arrives from a practice dominated by minimalism.
Working with limited colour and controlled painterly gestures, Lee believes in retaining an economy of representation while attempting to create the maximum resonance. For example, his most recent series entitled Dialogue see paintings created through singular sweeps of paint, added to over an extended period of time through multiple smaller strokes.
As his wide brush gradually unloads, the colour lightens towards immateriality – strong blues, reds and greens disappearing into white canvas and paper. Lee adds crushed stone to his paints so that 2D works may become sculptural, and here the paintings are accompanied by an installation of a large rock set in front of a blank virgin canvas.
The two isolated objects will one another into a conversation, and contrast with Lee’s carefully finished paintings – in fact offering a silent moment for the contemplation of productivity versus non-productivity.
Outside, a large stone stands upon sheet of glass and steel plates, and amongst a sea of pure white marble chips. This meticulously balanced, site-specific intervention follows Lee’s intention to lead his audience’s eye to emptiness and turn their ears to silence.
Lee Ufan, until 9 May, Lisson Gallery, 27 Bell Street, London NW1 5DA. For more information visit www.lissongallery.com
Follow us on Twitter @AestheticaMag for the latest news in contemporary art and culture.
1. Lee Ufan, Relatum – Rest. Courtesy of Lisson Gallery.