In the early 1990s various trips took Jungjin Lee into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth, and cactuses. Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things, and Wind, in which her fundamental interest in nature and culture is expressed in a space of poetic resonance. In her work, Jungjin Lee taps her profound understanding for materiality, texture, and craftsmanship. Working with Liquid Light, she applies photosensitive emulsion onto rice paper with a coarse brush. The publication presents eleven groups of works, commentated and contextualized in essays by Lena Fritsch, Hester Keijser, and Liz Wells–providing, for the very first time, an overview of an oeuvre spanning two decades.
Jungjin Lee: Echo is published on the occasion of the exhibition at Fotomuseum Winterthur, September 17, 2016 - January 29, 2017.
Jungjin Lee´s work lives — breathing and with a beating heart — in the land of no-name and can only be acessed by someone claimimg the "territory of no-mind". The photographs are "about nothing, or nothing much". (...) If the territory of the poet is a realm of hearing, then our share as viewers is to open up our ears as much as our eyes, in order that we may listen to this echo that reverberates in the stillness of Jungjin Lee's work. The auditory dimension in her work is what yet remains to be thought in calling her work poetic, as we are wont to do. We can make a start by attuning ourselves to the traces of this echo as have been laid down in the texts on Jungjin Lee's work — because to speak of it is to respond to what is heard, rather than seen.
— Hester Keijser