Lot Essay
“Instead of focusing on the idea of the surface of a painting, I found myself interested in the cross section of paint, which can give rise to unexpected form. With the Fetish Series, I started to think of paint, more as the skin of paint. The actions of twisting and slicing and the process of the paint drying and peeling all come into play in this series” - Jane Lee, 2016
Jane Lee's practice constantly re-examines the notion of painting by turning the focus onto the materiality of paint as the subject and not merely the medium of representation. Her works are a sharp deviation from Abstract Expressionism as she eliminates the emotive, expressive aspect of painting to address the physicality of the work itself.
In Purple Blues I, rolls of closely adhered wedges of paint are pressed and packed against each other to create a rippling bed of delicate purple flowers. From afar, the sensuous undulations in the tonal variations enthrals the viewer, conveying the impression of the constellations of the night sky, or the uneven terrain of a planetary surface. The painter's role is also re-evaluated as the common tools of the trade are set aside, and the artist relies on her hands to painstakingly form each flower of dried paint that would eventually contribute to the final surface of the work. Doing so, the artist exposes the cross-section of the paint layer to the viewer, effectively opening up a new way of seeing.
Coming together to form a predominantly purple surface, the painting is composed of paint rolls of violet, indigo, blue, and every shade that falls between, escaping the visual monotony of an otherwise monochromatic structure by creating depth and complexity within the visual plane. More than just a visual feast, the painting is highly tactile. The three-dimensionality of each element adds up to extend the work far beyond the flat format of the wall-hung canvas and into the space of the viewer, allowing the work to oscillate between two-dimensional painting and three-dimensional structure, playing on the architectural weight of the paint layer and the space it occupies.
One of Singapore's most exciting contemporary artists, Lee's works have been showcased extensively in international exhibitions and acquired by prominent private and public collections around the world. She has also received numerous awards for her innovative practice, most recently a Celeste Prize for painting in 2011.
Jane Lee's practice constantly re-examines the notion of painting by turning the focus onto the materiality of paint as the subject and not merely the medium of representation. Her works are a sharp deviation from Abstract Expressionism as she eliminates the emotive, expressive aspect of painting to address the physicality of the work itself.
In Purple Blues I, rolls of closely adhered wedges of paint are pressed and packed against each other to create a rippling bed of delicate purple flowers. From afar, the sensuous undulations in the tonal variations enthrals the viewer, conveying the impression of the constellations of the night sky, or the uneven terrain of a planetary surface. The painter's role is also re-evaluated as the common tools of the trade are set aside, and the artist relies on her hands to painstakingly form each flower of dried paint that would eventually contribute to the final surface of the work. Doing so, the artist exposes the cross-section of the paint layer to the viewer, effectively opening up a new way of seeing.
Coming together to form a predominantly purple surface, the painting is composed of paint rolls of violet, indigo, blue, and every shade that falls between, escaping the visual monotony of an otherwise monochromatic structure by creating depth and complexity within the visual plane. More than just a visual feast, the painting is highly tactile. The three-dimensionality of each element adds up to extend the work far beyond the flat format of the wall-hung canvas and into the space of the viewer, allowing the work to oscillate between two-dimensional painting and three-dimensional structure, playing on the architectural weight of the paint layer and the space it occupies.
One of Singapore's most exciting contemporary artists, Lee's works have been showcased extensively in international exhibitions and acquired by prominent private and public collections around the world. She has also received numerous awards for her innovative practice, most recently a Celeste Prize for painting in 2011.