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Lexicon of Lines: Lee Sung-Jae's Autobiography in Art

As a child born under Seoul’s ever-changing skies, I, Lee Sung-jae, found my world in the intricate dance of pencil on paper. My left hand, once bound by tradition, learned to yield to the right, but the spirit of that southpaw child still whispers through every line I draw.

By Carlos Quijon, Jr. Aug 22, 2024 4 min read

In my youth, the cool floor was my canvas, and my imagination, untamed, sprawled across it in endless doodles. Little did I know then that these formless scribbles were the seeds of a future I could not yet envision. The turning point came in a middle school art class, where a simple sphere became my first rebellion. While others shaded with practiced strokes, I sharpened my pencil to a needle’s point, etching life into the circle with the precision of a cartoonist. My teacher’s words – “It looks like a cartoon” – became both critique and prophecy, setting me on a path I walk to this day.University years saw me dancing between disciplines, painting with the soul of an animator, exhibiting with the heart of a dreamer. I wrapped my works in profound words and thick textures, playing the part of the tortured artist. But art, like life, has a way of stripping away pretenses.

In 2016, standing before an audience with English stumbling on my tongue, technical limitations gnawing at my confidence, and personal tempests raging within, I found myself naked of artifice. It was in this vulnerability that I discovered my true voice. Now, my art breathes with “drawing-like characteristics” and pulses with “motion.” Each piece is a confession of the words I cannot speak, the consideration I cannot help but give, the caution that both binds and defines me. My meticulousness is my meditation, each delicate line a mantra of the unspoken.

Lee Sung-jae, Self-portrait

I am a collector of moments when the familiar suddenly shivers with strangeness. My landscapes are not just places, but states of being. The people I depict are more than figures; they are questions I ask of the universe, and sometimes, of myself.

In the eyes of a shaman grandmother, I saw the power of empathy, and in the swollen belly of my wife, I witnessed the miracle of creation. These experiences flow through my fingers, manifesting in gathered lines that speak of love, pain, wonder, and the infinite complexity of human existence. I do not seek to preach or teach through my art. Instead, I offer glimpses into the extraordinary ordinary, hoping to awaken in others the realization that their own lives are works of art, waiting to be recognized.Like the madeleine of Proust, I aspire for my creations to be keys unlocking forgotten rooms of memory and emotion. In the interplay of line and space, in the layers of meaning and material, I invite you to find reflections of your own story.

For in the end, is that not what art is? A mirror, a window, a door – all at once. Through my work, I continually rediscover myself, and in sharing it, I hope you might catch a glimpse of your own reflection, in all its beautiful complexity. This is my journey, my struggle, my joy. With each piece I create, I weave another thread into the tapestry of my existence, ever-evolving, ever-questioning, ever in awe of the world that inspires me and the art that defines me.

Citra Sasmita, Timur Merah Project XII: River With No End, 2023, commission artwork of Diriyah Biennale 2024. Photography by Marco Cappelletti. Courtesy of the artist and Diriyah Biennale, Riyadh Saudi Arabia.

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