Lee Sun Kyung has been painting herself as the model for her paintings since 2004. She doesn't draw herself out of convenience. At a very young age, her interest lay on people. People capture the essence of both beauty and hideousness, and also have an unknowable tinge to them, which provoked her fascination. Her early works were displayed scenic qualities, and drew human relationship in a fabled space. Her work sometimes deals with subjects of redemption, or sometimes hostile relationships with others. Her next stage deals with the hardship of family relationships, and the next was focused on her battle with herself. On the year 2000, she has drawn a series of self portrait under the title ‘Virgin’ which displays her views of self-love, sarcasm and doubts about herself. The hidden faces within are expressed in a multiplicity of ways as seen from the self intoxication and disgust when gazing at herself, along with chaos and disunity. At times, a face appears from within another, or sometimes faces appear from other body parts, and countless numbers of faces appear on the screen all at once. In recent times through a display of supernatural, she draws fantasies that are embedded deeply within the subconscious. From ‘Gaze’, the big eyes that once gazed upon herself seemed to go gazing at other things and go on a world trip. The self portraits on the large screen drawn with lively effervescent brush strokes conveys the artist’s passion for consistency as human beings, as well as provocacy and self mocking humor. Lee Sun kyung’s self portrait works discovers the many others within ‘me’, and deals with its conflicts and the process of overcoming them. Like many other female artists, she looks upon herself through the mirror of art, and inspects, self heals, and opens a new world.Read More
Although the enormousness submerges the ordinary sense of space, what allows the artist afford the leisure to stick her tongue out whilst fighting her battle, to handle the weight of existence as thin as a shadow, to draw self identity and the effigy of the same period so clearly and pleasantly comes from the ‘lightness’ that emerged from the generation of rich and varied visual images that these four artists were born from and share in common. Such ‘lightness’ has been billowed from passion, and is the freedom of cognitive expression.