b. 1961 Korea
Breathtaking in their totality and balance, the images of Jungjin Lee present a self-contained world of stillness and wonder. Just as her photographic gaze is insistent and transforming, Lee’s images draw the viewer into a realm where the ecstasy and fullness of vision becomes the primary subject matter. A significant aspect of Lee’s work is her printing technique, which utilizes a liquid photo-sensitive emulsion brushed on handmade rice paper. This process, often used by the Pictorialists at the turn of the last century, produces a richly textured print which further emphasizes Jungjin Lee’s fusion of image and photographic intent.
“Lee does not want to be regarded as a photographer, at least not one who makes documents of a specific time and place, such as a photojournalist or a professional portrait photographer. Her own thoughts and feelings at the time of exposing the negative are more critical to the picture than describing the scene before the camera. She keeps enough realistic detail to anchor her pictures in life, but her printing process is akin to painting.” (Anne Wilkes Tucker, Curator, Museum of Fine Arts, Houston)
Lee has published several monographs including: Beyond Photography (2000), On Road/Ocean (2001), Thing (2005) and Jungjin Lee (2006). Her most recent title, Wind, with essays by Eugenia Parry and Vicki Goldberg was published in 2009.
Her work has been exhibited in numerous galleries and museums internationally including the Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; and Art Space Seoul Gallery. Lee’s photographs are included in the collections of the Metropolitan Museum of Art, New York; the Los Angeles County Museum of Art; Houston Museum of Fine Art; and the Sonje Museum of Contemporary Art, Kyongju, Korea and other prestigious institutions worldwide.