The tree was represented as a fundamental form and symbolic organism based on the design concept. With copper pipe objects and textures like tree skins it creates exquisite shapes which is the expression of a birth like planting a life in the mechanized modern society.
Critic's Note: In this series, after cutting pipes to a certain size, Lee repeatedly puts the round-shaped pipes together. Since these assembled pipes are cut in the same size and shape and compared to other works with the natural materials, the organic relationship between the part and the whole is revealed more clearly in this series. Each copper pipe that constructs the whole form is representing the minimum particle of life, a miniature universe, a seed of life, a cell.
Lee’s interest in nature hit a turning point in the combination between the inner vitality of nature and the sensuous shapes of nature. Finally the artist is able to express nature’s vital power and the formation of nature through similar sensuous shapes that are found in nature. These images have the same intensity that is evoked from the immanent energy created in nature though suggestive and abstract forms. In this series, instead of consistently cutting the pipes in a certain size and using the round-shaped face as it is, the round-shaped side is pressed to a long, oval shape. This long, oval shape then becomes the monad of a tree and through a welding process a complete tree form is produced. What is amazing here is that the tree shape that is formed with these oval-shaped particles very much resembles the surface of the actual tree. There is a standing shape, or naturally curved shape, and there is an imposing one, or a skinny one. These forms especially depict trees that have been naturally distorted from time and weather.
Collection: Savina Museum of Contemporary Art
Artist's Education: 1989 Kyunghee University. Seoul, Korea. B.A., Art Education