Yewon Lee

In my work, I seek to express the visualisation of an ever-evolving sense of self, one that is not anchored in a fixed state but shifts with each passing moment. I believe that identity is never static; instead, it is continuously redefined by social, cultural, and personal influences. This process of forming a fluid self is similar to how traditional tales are created, evolve, and are passed down through generations. I reinterpret creatures from these folkloric stories, presenting them through my lens. By reconstructing these images in contemporary contexts, I examine how multiple layers—such as personal memories, cultural backgrounds, and the environment in which I am currently immersed—intersect, creating both tension and harmony. I intentionally leave the imagery open-ended, enabling diverse interpretations and inviting people to project their own stories and experiences onto my work. Ultimately, capturing a specific moment of this continuously transforming self becomes the central theme and goal of my practice.

Reflecting on my journey as an artist, the most pivotal moment was undoubtedly my decision to move to the UK. Since relocating here, I have encountered numerous new experiences and insights that have profoundly shaped both my artistic world and personal life. My time at the RCA was particularly significant: being surrounded by peers who genuinely loved painting and were deeply committed to their works offered immense inspiration. Our frequent discussions and mutual support brought fresh energy and new ideas to my artistic career. Moreover, making the somewhat bold decision to relocate from Korea to a country that differs significantly in many aspects allowed me to discover my current artistic style. In this unfamiliar setting, I could reassess traditional Korean materials and techniques, which had previously felt familiar, even ordinary. Through renewed research and exploration, I discovered ways to merge traditional Korean materials, such as hanji and ink, with Western collage techniques, developing my hybrid approach to visualising fluid identity. Initially, moving away from my familiar methods was unsettling and confusing. Yet encountering these new, intriguing materials and expressive techniques ultimately became the turning point from which I could see myself and my art in a completely new light. This experience not only expanded my artistic practice but also clarified my creative ambitions and personal aspirations, making it one of the most defining moments of my artistic journey.

Before relocating to the UK, I spent many years studying Korean traditional painting in Korea. Hanji and ink, the materials I have worked with the longest, form the core of my practice. These materials are particularly unique and significant to me. Hanji plays a pivotal role in my work, offering a tactile foundation for exploring the concept of fluid identity. Its organic texture allows for experimentation with structure and fluidity in ways that other materials cannot facilitate. Moreover, I don’t just use Hanji as a mere background paper; I collage it with ink, applying unconscious, automatic strokes to create a layered texture. This method allows me to capture and express the fluidity of identity in my work. As someone living in the UK, I consider myself a hybrid individual, shaped by an amalgamation of diverse experiences and cultural backgrounds. By blending Western collage techniques with traditional Korean materials, such as ink and Hanji, I endeavour to visually express my hybrid identity, both through the materials I use and the visual language I create.

When people engage with my work, I want them to feel a sense of fluidity and transformation—a reflection of the ever-shifting nature of identity. I hope my works evoke emotions that are both introspective and transformative, allowing people to connect with the notion that identity is never fixed but is in constant flux. I want them to sense the complexity of this process, not as something unsettling, but as a natural and essential part of the human experience. Simultaneously, I hope that people see themselves in my work. My works are not self-portraits of me; instead, they reflect the diverse range of experiences that shape people living in the modern world. I want my work to resonate with the collective human experience, inviting people to find aspects of themselves in the characters and moments I create. I want them to feel as though they are being drawn into the world I have made, while also recognising their own stories within it. Ultimately, I aim to spark curiosity and reflection, encouraging people to explore their sense of self and the layers of experience that shape them. I want them to walk away with a deeper emotional connection to the idea that our identities are constantly evolving, shaped by the world around us.

I strive to establish a routine and stick to it. While each artist has their approach, I aim to maintain a schedule where I arrive at my studio in the morning and leave in the evening, keeping a clear structure to my day. Upon arriving at the studio, I first compile a list of tasks for the day. I divide my day into two main sections: the administrative work and the actual creative process. Tasks such as research, paperwork, and responding to emails are prioritised in the morning, while after lunch, I focus on the painting process. I set out to complete as much as I can within the day’s plan, ensuring that I make steady progress. My studio is located next to a large canal, and when I find myself stuck or in need of inspiration, I often take a walk along the water to recharge. Diligence and consistency are my greatest strengths. While I know that great work isn't just about the number of hours you spend at your desk, I make it a point to dedicate time in the studio every day. In my view, I’m not a naturally gifted artist but someone who relies on persistence and dedication to keep my career going. Through these strengths, I hope to continue developing my career as an artist, steadily and for the long term.

My greatest aspiration as an artist is for my work to resonate meaningfully with people, allowing it to connect deeply and engage thoughtfully with the broader world. Rather than remaining purely personal, I hope my art encourages cultural dialogue, thereby fostering a richer understanding of identity and culture. Through consistent growth, I strive to enhance both the conceptual depth and technical refinement of my work, with the ambition of reaching and positively influencing an ever-wider audience. In particular, I hope to continue integrating traditional Korean materials, which I have spent years studying and hold in high regard, into the contemporary art scene. By doing so, I want more people to discover, appreciate, and embrace the unique beauty of these traditional mediums. Just as I drew inspiration and courage from the senior artists who came before me, I aspire to become a source of quiet solidarity and encouragement for younger artists embarking on their journeys. While I may not be extraordinary, I believe that simply continuing to create and persevere can offer meaningful support to others. Ultimately, my dream is for my art to inspire people to reflect upon their sense of identity, offering new insights and perspectives with every encounter.