“Repetition, the photograph, the copy—all of those were methods to find a deeper connection,” says Lindy Lee, reflecting on the threads running through her diverse 35-year practice. In that time, she has worked with photocopies, photographs, ink, wax, bronze, paper, steel and fire. She has developed a vivid and symbolic language of colour and then moved towards somethings much more austere. “To me, it’s this continuous journey,” she says.
Lee’s practice is driven by questions of identity and the nature of the self and how it’s constructed. Her works foreground impermanence, flux, connection and interdependence, presenting a dynamic and liberating take on who we are.
In July, Sydney’s Museum of Contemporary Art surveys her practice in an exhibition that travels from her early photocopy works, to later series about family, Buddhism and the elements, as well as a large new commission, Moonlight Deity, 2020. The in-depth survey has been curated by museum director Elizabeth Ann Macgregor, who has known Lee’s practice for decades.
Full story in issue 30 of Vault magazine.