Harper’s is pleased to announce Memory’s Memory, a presentation of new paintings by Brooklyn-based artist John Hyen Lee at Harper’s Apartment in New York City. This is the artist’s first solo exhibition in New York.
In Memory’s Memory, Lee’s quiet and meditative mind-scapes drift between the subtleties of chroma and value. Each work is inscribed with a visual vocabulary characterized by the ebb and flow of mark-making and its erasure. Lee’s gestures are careful, without hurry, pared down to the width of each brush, translating each mark into formal considerations of time. His lexicon is structured by rectilinear borders that reference the gridded notepads, lined journals, and blank notebooks he uses to process and catalog the experiences and spaces beyond the painting surface.
Dual first languages—Korean and English—precede Lee’s painted vernacular, which considers the flux in the meaning and experience of words. While his painting practice derives its form from the repetition of written words or letters, the resulting images exist uniquely within the lexical gap. Operating in undefined spaces where thoughts and emotions are lost in translation, Lee draws from the limitations of memory and language to process nuanced reflections of personal history: the irreversible effects of glaucoma, the murky dichotomy of hyphenated ethnicity, and the complexities of marking one’s body.
John Hyen Lee (b. 1994, Los Angeles, CA) received a BFA from Rhode Island School of Design in 2016. Most recently, his work has been exhibited at Christie’s, New York (2022); Nathalie Karg Gallery, New York (2021 and 2020); Field Projects, New York (2019); and Memorial Hall Gallery, Providence (2016). Lee currently lives and works in Brooklyn.
Harper’s is pleased to announce Memory’s Memory, a solo presentation of new paintings by Brooklyn-based artist John Hyen Lee at Harper’s Apartment in New York City. This is the artist’s first solo exhibition in New York.
In Memory’s Memory, Lee’s quiet and meditative mind-scapes drift between the subtleties of chroma and value. Each work is inscribed with a visual vocabulary characterized by the ebb and flow of mark-making and its erasure. Lee’s gestures are careful, without hurry, pared down to the width of each brush; translating each mark into formal considerations of time. His lexicon is structured by rectilinear borders that reference the gridded notepads, lined journals, and blank notebooks he uses to process and catalog experiences and spaces beyond the painted surface.
Dual first languages—Korean and English—precede Lee’s painted vernacular, which considers the flux in the meaning and experience of words. While his artistic practice derives its form from the repetition of written words or letters, the resulting images exist uniquely within the lexical gap. Operating in undefined spaces where thoughts and emotions are lost in translation, Lee draws from the limitations of memory and language to process nuanced reflections of a personal history: the irreversible effects of glaucoma, the murky dichotomy of hyphenated ethnicity, and the complexities of marking one’s body.
John Hyen Lee (b. 1994, Los Angeles, CA) received a BFA from Rhode Island School of Design in 2016. Most recently, his work has been exhibited at Christie’s, New York (2022); Scroll NYC, New York (2022); Nathalie Karg Gallery, New York (2021 and 2020); Field Projects, New York (2019); and Memorial Hall Gallery, Providence (2016).