Jennie Jieun Lee
Blue Dozing, 2022
slipcast stoneware, glaze, porcelain
11 x 7 x 6 in
27.9 x 17.8 x 15.2 cm
27.9 x 17.8 x 15.2 cm
Copyright The Artist
Jennie Jieun Lee (b. 1973, Seoul, South Korea) lives and works in Sullivan County, NY. Jennie Jieun Lee makes expressive, richly textured ceramics covered in abstract paintings with hints of...
Jennie Jieun Lee (b. 1973, Seoul, South Korea) lives and works in Sullivan County, NY.
Jennie Jieun Lee makes expressive, richly textured ceramics covered in abstract paintings with hints of representational imagery of her immigrant experience. She creates an array of sculptures, including wheel-thrown, hand-altered vessels, masks, and slip cast busts with morphing and multipart features that mimic, articulate, and navigate her emotional and psychological spaces.
Lee's sculptures Ice Cold Wash (2019), Pink Sky (2022), Untitled (2023), 
and Blue Dozing (2022) are captivating pieces that showcases her mastery of porcelain slipcasting and stoneware. The sculptures’ delicate forms and subtle curves evoke the fragility and impermanence of life, a central theme in vanitas art. Additionally, the use of porcelain slipcasting and stoneware, traditional materials in ceramic art, can be seen as a nod to the historical context of vanitas, which often featured objects that represented the transience of life and the inevitability of death.
Jennie Jieun Lee makes expressive, richly textured ceramics covered in abstract paintings with hints of representational imagery of her immigrant experience. She creates an array of sculptures, including wheel-thrown, hand-altered vessels, masks, and slip cast busts with morphing and multipart features that mimic, articulate, and navigate her emotional and psychological spaces.
Lee's sculptures Ice Cold Wash (2019), Pink Sky (2022), Untitled (2023), 
and Blue Dozing (2022) are captivating pieces that showcases her mastery of porcelain slipcasting and stoneware. The sculptures’ delicate forms and subtle curves evoke the fragility and impermanence of life, a central theme in vanitas art. Additionally, the use of porcelain slipcasting and stoneware, traditional materials in ceramic art, can be seen as a nod to the historical context of vanitas, which often featured objects that represented the transience of life and the inevitability of death.