Susie Lee Continues to Evolve in Media and Influence

“Still Lives: Passages,” 39’ 31”. Hi-def video in framed LED TV. 2010 Inspired by Goya’s “Men Reading”

ANNAPOLIS, MD, April 19, 2011—With 2011 showings in New York City, NY, Los Angeles, CA, Kirkland, WA, Denver, CO, Baltimore, MD, and Bologna, Italy, Susie Lee’s work continues to expand to an even greater audience. Her work continues to gain acclaim, as she was the winner of the Stranger Visual Art Genius Award in 2010 and was selected as one of the recipients of the Northwest Contemporary Art Award by the Portland Art Museum in 2011.

Susie Lee’s use media continues to evolve, while maintaining a rich diversity evidence of the brilliant thinking that inspires her. Lee will be presenting video works in New York and Los Angeles this summer. She is installing a series of glass and light artworks through public commissions in Kirkland and the Baltimore Four Seasons.  Lee is collaborating with renowned ceramic artist, Akio Takamori on a children’s book. Lee is also the lead artist in a dance and digital media performance this coming fall. 

A look at Susie Lee’s video portraits shows the intensity, intelligence, and evolution in her artistic approach. Lee’s approach to these video works is contemplative and compassionate. These portraits are gentle and insightful looks at the relationship of the subject to the camera and lights in the field of portraiture, while at the same time creating a quietly powerful profile of the subject. By asking the subjects to hold poses for an extended period of time, as they would in photography, sculpture or painting studios, Lee recreates the time-honored tradition of formal posing portraiture.

Waiting to Grow, 17’ Hi-Def video in framed LED TV. 2010. Inspired by Picasso’ Child with Dove

Lee works with real-time video to equalize observational power between the viewer and the viewed. It’s not surveillance with intrusions, and it’s not performance with a captive audience. It is the experience of being able to watch another person intimately without needing to speak to fill the awkward silence.  Like Bill Viola’s work that evolve slowly and subtly over time, Lee’s narratives change slowly, rewarding the viewer with subtle shifts or changing glances. Yet, unlike the works of Robert Wilson or Bill Viola, the footage is not frozen, slowed down, or edited to glamorize effects, but rather, is realized as an unfolding of real time.

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