Jennifer J. Lee paints densely compact images with oil on jute in a quasi photo-realistic style. Her subjects, sourced from internet searches, sit at the intersection of recognizability and genericism. Lee has referred to her deep image searches as a metaphorical road trip for observational painting, with the artist moving forward into parts unknown. The rough jute she paints on has a diffusing quality; the surface forces Lee’s brush strokes to fizzle at the edges, creating a low-res quality that refers back to the digital nature of the source imagery. The resulting painted textures accumulate into images that obliquely refer to abstract painting movements such as Op Art, but ultimately relate to the artist’s own personal perspective.
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outside exhibition
Jennifer J. Lee at The Sunday Painter
Drop Ceiling, Jennifer J. Lee's solo show at The Sunday Painter opens in London on November 18, 2021. Ten new paintings will be on view through December 17.
museum exhibition
Jennifer J. Lee at the X Museum, Beijing
Hedges, 2019, by Jennifer J. Lee is included in 'Particularities' at the X Museum from September 5 to December 5, 2021. 'Particularities' is a group exhibition about contemporary, small-scale painting. At a time of increasing scale, expansion and general hypertrophy, this exhibition trains its gaze on painting practices that do the exact opposite.
institutional exhibition
Jennifer J. Lee in "La Mer imaginaire" at Fondation Carmignac
Jennifer J. Lee has work on view in "La Mer Imaginaire" a group exhibition curated by Chris Sharp at the Fondation Carmignac, France from May 20th to October 17, 2021.
review
Jennifer J. Lee
Rahel Aima writes about the work in Jennifer J. Lee's first show at Klaus von Nichtssagend Gallery.
Book
Jennifer J. Lee
Planet Caravan, 2021
5.5 x 8.5 inch, 30 page, soft cover, full color catalog of Jennifer J. Lee's 2021 exhibition, Planet Caravan at Klaus von Nichtssagend Gallery.
review
Jennifer J. Lee and Joy Curtis
Joy Curtis and Jennifer J. Lee's solos shows at Klaus von Nichtssagend Gallery were listed in the February 4, 2019 issue of The New Yorker
