LEE Dongwook's work consistently explores relationships on multiple levels. These relationships can be broadly categorized into two approaches: one that examines the connection between society and the individual, and another that focuses on the sensory aspects, maximizing the intrinsic qualities of specific subjects or the visual properties of materials. The first approach delves into the complex and fragile nature of humanity within society, offering sharp insights and critiques through the arrangement of objects reflecting the artist's preferences and human figures and structures made from Sculpey—a type of polymer clay. The second approach heightens sensory awareness and aesthetic impact by connecting and juxtaposing similar yet distinct materials, amplifying the visual and tactile experience of the artwork.
This exhibition represents LEE's latest exploration of the complex relationships that have long interested him. On the 4th floor, LEE presents a large-scale installation titled Shiny (2024), where various materials, all unified by their silver hue, are connected and arranged to create a cohesive work. True to its title, the piece is composed of materials that sparkle and shine, including platinum-coated tree branches, various silver objects, and silver wrapping ribbons. The visual impact of the work comes from the contrast between the natural texture of the wood and the brilliant silver of the platinum that covers it, as well as the subtle differences in how the platinum and silver ribbon reflect light. The beauty of this piece lies in discovering and experiencing these intriguing visual contrasts. As with much of LEE's work, there is a sense of humanity's presence and absence within the piece. On the 5th floor, the exhibition continues with LEE's exploration of contemporary human existence, a theme he has long examined through the depiction of small human figures within specific structures. However, in these new works, the direct representation of flesh-toned human figures, which LEE frequently portrayed in the past, has been significantly reduced. Instead, the emphasis is placed on the structures themselves, with humans depicted almost as if they are crushed flesh, buried within these constructions, inviting viewers to contemplate the human condition within these confines. Rather than the carefully crafted pink-skinned figures of previous works, this exhibition features rough, mold-cast red figures symbolizing life. As a result, the exhibition offers a visually rich experience, allowing viewers to first enjoy the vibrant interplay of red and shimmering silver elements suggested by the title. After this visual indulgence, viewers are then drawn to discover the human presence within the vast structures and reflect on the relationships that emerge.
LEE Dongwook graduated from the Department of Painting of Hongik University College of Fine Arts in 2001 and obtained his master's degree from the graduate school of the same university in 2003. LEE has held solo exhibitions at various institutions such as ARARIO GALLERY SEOUL (Seoul, Korea, 2024; 2012), ARARIO MUSEUM Dongmun Motel II (Jeju, Korea, 2016), Gallery Charlotte Lund (Stockholm, Sweden, 2013) and Doosan Gallery (New York, US, 2012). He has also participated in group exhibitions at ARARIO GALLERY SEOUL (Seoul, Korea, 2023; 2018; 2014; 2011; 2010), Daejeon Museum of Art (Daejeon, Korea, 2021), Inside-Out Art Museum (Beijing, China, 2017), Light Box (Venice, Italia, 2013), Museum of Arts and Design (New York, USA, 2011), Uppsala Art Museum (Uppsala, Sweden, 2011), National Museum of Contemporary Art (Gwacheon, Korea, 2010; 2009; 2004), Saatchi Gallery (London, UK, 2009), Total Museum of Contemporary Art (Seoul, Korea, 2009) and The National Museum of Art (Osaka, Japan, 2007) etc. LEE's works are part of many significant collections such as National Museum of Modern and Contemporary Art (Korea), Seoul Museum of Art (Korea), Burger Collection (Hong Kong), Rubell Family Collection (US), Today Art Museum (China) and more.
