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Lot Essay
“In the past years, I have been constantly challenging the practice of painting in the aspects of what constitutes a ‘painting’, how far the boundaries of painting can be pushed, as well as painting processes to the painting’s materiality, such as paint, support, and canvas.” – Jane Lee, Interview with Indesign Live, Singapore, 2013
One of the leading artists in the contemporary art scene of Singapore, Jane Lee is renowned for her use of unconventional materials and innovative techniques. Rather than the final product, Lee puts more emphasis on the process itself, in which she engages the space around the art. Ultimately, Lee’s work becomes part of the architectural space where it is displayed and lets the viewer start one’s own dialogue with the surrounding environment
In the present lot Snow White, created in 2009, Lee literally “sculpted” the acrylic paint and applied them on the canvas, resulting in a highly tactile, organic yet delicate surface. In this process, Lee pushes the materiality of painting nearly into the realm of sculpture, visualizing the interaction between the material and the medium, paint and canvas. Lee doesn not compel the materials to tell a story but allows them to just be there and exist. Throughout her oeuvre, Lee reflects her respect for materials and medium and allows them to speak in a way that they come to life. Ironically, the overall color scheme of Snow White is not white as snow. However, among the sculpted colorful paints, even a small whiteness comes to us in “snow white.” Lee once confessed that her use of vibrant colors reflects her emotional status and mood: abundance, celebration, and even courage. In Snow White, multiple dialogues between the materials and between the artist and the viewer take place.
One of the leading artists in the contemporary art scene of Singapore, Jane Lee is renowned for her use of unconventional materials and innovative techniques. Rather than the final product, Lee puts more emphasis on the process itself, in which she engages the space around the art. Ultimately, Lee’s work becomes part of the architectural space where it is displayed and lets the viewer start one’s own dialogue with the surrounding environment
In the present lot Snow White, created in 2009, Lee literally “sculpted” the acrylic paint and applied them on the canvas, resulting in a highly tactile, organic yet delicate surface. In this process, Lee pushes the materiality of painting nearly into the realm of sculpture, visualizing the interaction between the material and the medium, paint and canvas. Lee doesn not compel the materials to tell a story but allows them to just be there and exist. Throughout her oeuvre, Lee reflects her respect for materials and medium and allows them to speak in a way that they come to life. Ironically, the overall color scheme of Snow White is not white as snow. However, among the sculpted colorful paints, even a small whiteness comes to us in “snow white.” Lee once confessed that her use of vibrant colors reflects her emotional status and mood: abundance, celebration, and even courage. In Snow White, multiple dialogues between the materials and between the artist and the viewer take place.