Miju Lee

Miju Lee rearranges everyday moments like puzzles, discovers formative principles among them, and hides playful elements that break those principles here and there. In doing so, she tries to embody something like a déjà vu that is full of familiar things but seems strange, realistic, and unrealistic at the same time. She is doing this through numerous methods while going back and forth between flat plane, three-dimension, and different genres.

Busan
http://www.instagram.com/mijuleee

Buddha’s Palm

In an old Chinese novel called Journey to the West, the Monkey King (a.k.a. Sun Wukong), flew to the end of the world on a cloud, but it was still in Buddha’s palm. Miju Lee got the motif of this work from that story, and shows us how he composed a big picture of the universe in one piece. This work reminds us how we are very little beings among huge forces and giant things in the world to shed light on a variety of lives that blend, hide, and create different pictures depending on how you look at them, thereby capturing messages of desire and support of it.

Paint on wood
6000 × 6000 × 5000 mm
2021

Miju Lee, Buddha’s Palm
Miju Lee, Buddha’s Palm
Miju Lee, Buddha’s Palm
Miju Lee, Buddha’s Palm
Miju Lee, Buddha’s Palm

Presence&Persistence

Under the theme of harmony and balance, “Presence and Persistence” invites 13 teams of artists from Korea and other counties who have shown positive and creative homeostasis, including Helmo (Montreuil) and Miju Lee (Busan). There are also the inhouse Ghost Collective (Seoul), Studio Spass (Rotterdam), Club Sans (Seoul, Reims), Bin Koh (Amsterdam), Simo Tse (Amsterdam), Dongwan Kook (Seoul), Naky Hwang (London), and TUKATA® (Incheon). Works by these artists invited from a number of cities are installed all over the exhibition venue, and Culture Station Seoul 284 connects all these different parts of the event. This part consists of leading works of Typojanchi 2021, expressing the theme “Typography and Life” in the most profound way.