There is a peculiar consistency that earmarks Jimin Lee's work. Although she attends to an impressive variety of subjects in many different visual media, her work always manages to position the viewer's gaze in that slipstream netherworld located between an embodied actuality and our vaguely confused memory of same, reminding us that memory is always inflected by the vicissitudes of fear and desire.

This undermines our faith in the possibility of any static image's ability to freeze time in service to a meaningful certitude, thereby reminding us that such images can only function as place holders in a larger conflict between imperfect recollection and evanescent polyvalence.

It is for this reason that Lee's works are quiet masterpieces of poetic disorientation, giving uncanny valence to the complexities that make even the most commonplace of everyday objects a challenge to our limited abilities to apprehend the whole truth and nothing but.

Mark Van Proyen


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