Installation view with (bottom) Via Negativa II, 2014. Polycarbonate sheet, aluminium frame, acrylic and polycarbonate mirrors, steel, stainless steel, mirror, LEDs, and silkscreen ink; and (top) Untitled, 2014, crystal, glass, and acrylic beads, mirrors, stainless steel, aluminium, black nickel, and steel and bronze chains.

Lee Bul

New York

Lehmann Maupin

Lee Bul remains difficult to pin down. While wandering through her recent exhibition, a steady flow of visual connections and compelling ideas crossed my mind. Lee embraces theory, but does not drive it down our throats. Her work is sumptuous, occasionally repellent, often dynamic, and sometimes downright sexy—all of which indirectly draws attention to the messages that she seeks to convey. There is a lot to get out of her grafting of the newest forms and ideas from the worlds of science, technology, and culture onto Modernist armatures. Her rich and multifaceted constructions deliver a great deal to conceptually as well as optically inclined viewers. Via Negativa II (2014), a striking architectural structure with mirrored walls both inside and out hovers on stilts above a mirrored floor. A narrow, labyrinthine silver passage, rising more or less from hip level (the legs of anyone inside can be seen by those outside the structure), offers entrance and leads to a golden chamber, …see the entire review in the print version of April’s Sculpture magazine.

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