Approximately 55% of the world’s population live in urban areas, whilst people in Britain spend between 80% and 90% of their time indoors. There is a growing disconnect between humanity and the natural world – a topic of increasing prevalence for artists. Photographer Zed Nelson won the 2025 Sony World Photography Award for his investigation into how society artificially recreates an “authentic” relationship with the landscape. Elsewhere, Agnes Denes and Edward Burtynsky use their platform to advocate for sustainable living, whilst drawing attention to the impact of industry. These projects reflect the urgency of the current moment, where detachment from the environment is causing the climate crisis to accelerate.
Now, Lee Myoung Ho’s (b.1975) (no)thing adds to the conversation. The show features Lee’s most celebrated series, Tree (2006 – 2024), which focuses on “portraits” of trees. The twist? These impressive plants are photographed in front of huge canvases. Industrial cranes are required to erect the backdrop, isolating the tree from its habitat. Here, Lee takes an abstract idea – the way flora can often be viewed in isolation from their wider environment, often to their detriment – and makes it observable.
The series has echoes of Korea’s avant-garde scene, placing Lee in the company of some of the country’s great innovators, such as Kim Kulim. In the late 1960s, Kulim burnt and regrew grass against the rapidly developing Han River backdrop, critiquing industrialisation. Lee’s work is part of a movement that encourages people to see their surroundings with fresh eyes. In the face of real ecological threats worldwide, this is a vital message.
Lee Myoung Ho: (no)thing is at Gallery Kiwa, London, until 19 July.
Words: Emma Jacob
Image Credits:
1. Lee Myoung Ho, Heritage #7_3, (2024). Image courtesy of GALLERY KIWA, London.
2. Lee Myoung Ho, Tree… #6, (2014). Image courtesy of GALLERY KIWA, London.
3. Lee Myoung Ho, Tree… #9, (2017). Image courtesy of GALLERY KIWA, London.
