
Lee Yongjae would often use the phrase “to draw after ” or “to draw a copy of.” In the casualness with which he utters the phrase, one might sense a direct, almost disarming candor and a certain degree of cautiousness at the same time. To “draw after” something implies the prior existence of a concrete subject before the image created by the artist. These subjects range from the Joseon dynasty ink paintings and architectural forms to traditional East Asian portraits, as well as paintings and photographs situated within Western art history—primarily images he first encountered online. While he often chooses historical artifacts or artworks bearing institutional and historical authority as the basis of his work, he also turns to images circulating across the internet, detached from their original contexts.
The artist recently began to draw fragments from his own earlier works. Lightning and darkness, clouds and sky, skin and red tattoos—motifs that once existed together within a single painting or landscape are now divided and dispersed across separate surfaces in this presentation. He trains his body in the techniques used to render light and darkness in the 1700s Joseon paintings, then articulates them in 2020s Seoul, as though practicing the pronunciation of a foreign language. Only when he has grasped that foreign language in his mouth long enough to bend and maneuver it with the fluency of a native tongue does it finally transfer onto the painted surface.















Seoul-based artist Lee Yongjae’s painterly practice unfolds the dynamic relationship among and between paintings. In addition to exploring the rich tapestry of themes, he investigates structural questions about painting itself. That is, his interest alternates between the degradation of traditional painting textures in digital imagery, the labeling of painting in Korea as either Korean style (*Hangukhwa*) or Western styles(*Seoyanghwa*), and the search for elements that are unseen or unspoken yet believed to exist in painting. All of these are in accordance with the principle he established in viewing his own work. The artist has termed this singular approach employing the enigmatic self-referential pronoun “itself.” For Lee Yongjae, painting is a perpetually appealing activity that involves encircling a narrative with a framework that can be understood either as a picture frame or a support structure.

CAPTION is a contemporary art gallery based in Yongsan-gu, Seoul. Founded in 2023, the space presents distinct visual vernaculars and practices from Korea and abroad. Working in close alignment with its artists, it aims to foreground visionary perspectives to cultivate long-term creative trajectories through curated exhibitions, publications, and collaborative projects.Positioned as a facilitator between creators and audiences, CAPTION gathers diverse viewpoints and recontextualizes them to explore new discourses in art. The gallery serves as a vital nexus connecting artists with collectors, nurturing visions as they evolve into sustainable careers. As an experimental space unconstrained by medium or discipline, CAPTION strives to offer multi-layered artistic experiences within the dynamic landscape of contemporary art.

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