Categories
.debris. Europe Migrations Mobilities Rocky Mountain West

Hybrid at Redline

Curatorial Statement
Initiated by Rian Kerrane, a native of Ireland, Hybrid asks fourteen artists to “cross over”. The artists’ work examines the experience of crossing the Atlantic in the current political climate while acknowledging historic influences from each artist’s perspective; identifying experiences of (dis)placement and immersion in cultural and social surroundings from either side of the Atlantic. RedLine provides the first venue for a pair of exhibitions, the second of which will take place in Ireland, allowing each artist to engage both with “local” proximity and “foreign” distance in turn.

The wide range of included media and the diverse origins of the participants are intended to incite a stimulating translation and critical examination of ongoing cultural conversations and personal experiences of the hybridization of our lives, expectations, ancestral backgrounds, geology, perceptions, identities, of immigration, and of both the geographic distance and human commonality of the artists.

Shaped by Kerrane’s personal ties with the included artists, Hybrid emerges from a reflective process of curatorial matchmaking. Working in sculpture, painting, drawing, photography, film and installation, the works of these two groups of artists both mirror and confront one another. Hybrid acknowledges and pays tribute to complex local experiences in a common global culture, reflecting Kerrane’s eighteen years of continually (re)crossing the Atlantic.

Artist’s Statement
The Irish arrived in the west as hard rock miners, and planted the seeds of industrialization that changed the face of our landscape and established the foundation of culture in our mountain towns. Even today, the old saloons carry an Irish flavor. This series looks at the long term, chemical impacts of a set of mines perched around the town of Leadville, at the headwaters of the Arkansas river. I was awarded a Terraphilia residency through the Colorado Art Ranch, where I had the opportunity to get to know the ecologist, Susan Tweit. She offered great insight into the nature of the river, and the transformation of the ecology after the grouping of mines upstream became a federal ‘Superfund’ site, wherein the pollution from the mines was mitigated. The mines had no outflow, so when the snow melts, all the passages fill up with water, which then overflows into the Arkansas River, killing all the insects and larvae in a flood of red-colored heavy metals from the mines. The drawings here were paired with a series of waterflies native to the region & drawn with red-tinged ink in a way that make them look like they were exploding.

drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
drawing of the Leadville mines by Lee Lee
Lee Lee | Mines from Leadville, Colorado
Teastains, pencil, ink, gouache, charcoal & watercolor on Strathmore paper
11″ x 11″ | 2012 | Created on a Terraphilia residency hosted by the ecologist Susan Tweit in Salida, CO
Categories
Americas Mobilities Slow Food Women

Chichicastenango

With eleven month old Thatcher Gray on my back, we meander our way though Chichicastenango’s Saturday market, awash in vibrant Mayan color and patterning. Starting with stone lithograph prints of rain forest inspired drawings, tracked with fresh tar then torn into squares, the process represents the fragmentation of Mayan land and culture. Atop this foundation, cultural persistence is demonstrated by Mayan traditional practices maintained despite Guatemala’s history of atrocity.

Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Mixed media artwork from Guatemala by Lee Lee
Lee Lee | Chichicastenango Market, Guatemala 2009
Mixed media including tar, sharpie, colored pencil, watercolor and gouache on torn stone lithograph
14″ x 14″ | 2010 Taos
Categories
Americas Industry Mobilities Rocky Mountain West

slaughter

Before I knew I was pregnant, I went on an adventure with a group of sound artists into an abandoned slaughterhouse in Commerce City just north of Denver. My colleagues were inspired to create work in the space after hearing about out creative sessions in the blast tunnels of the Titan missile silo. They wanted to make music while channeling the charged energy that filled the space. While they produced music through practicing a style of Tuvan throat singing alongside drums and a didgeridoo, I wandered the haunted spaces convening with the ghosts of the animals who met their demise to meet the insatiable demands of a national diet centered on industrial meat. I photographed a series of interiors that I later used as source material for this set of mixed media paintings created in the first years of Thatcher Gray’s life, when I was exploring the industrial food machine. Integrating paper that I had shot with a shotgun and run over with my truck to print tire patterns with fresh tar, I painted the equipment with with watercolor and colored pencils to pay homage to the life lost here.

mixed media painting of a slaughterhouse by Lee Lee
mixed media painting of a slaughterhouse by Lee Lee
mixed media painting of a slaughterhouse by Lee Lee
mixed media painting of a slaughterhouse by Lee Lee
mixed media painting of a slaughterhouse by Lee Lee
Categories
.debris. Americas Industry Mobilities Rocky Mountain West

refinery

Commerce City
Colorado

Motherhood changes us. For me, the arrival of Thatcher Gray caused a shift from explorations of the long term impacts of war to an internalization of how we nourish ourselves. Internally, I was growing a child, nourishing him within then using my body to feed him, so I became acutely aware of what I was putting in my body. As he started eating solid food, I became obsessed with where that food came from, how it was grown and the load of chemicals that could potentially add to our body burdens. We started growing our own food. Before creating artworks that emphasized solution oriented practices, I explored how to represent the impacts of petrochemicals. This series of mixed media works on paper integrated a base texture made from a silkscreen print of collaged plastic that I had singed with a blowtorch. I transferred photographs of the oil refinery in Commerce City, just north of Denver. These photographs were taken during a rainstorm while Thatcher was safely cuddled at home with grandma. They are abstracted by the movement of my car as I was driving by. Generally I like to compose landscapes with slow consideration, but this particular afternoon I was confronted by hefty plain clothed security guards within 3 minutes of stepping out of my car, even though I was on a public avenue. The angles of the drive by photographs coupled with the often blurred motion recorded by the camera added a dynamic quality to the compositions that are similar to the textures wrought by a shotgun blast, both processes being slightly out of control. Into this foundation, I painted out aspects of the industrial landscape with oils to highlight the skewed angles and add atmospheric depth.

refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
refinery: mixed media painting by Lee Lee
Categories
Americas Women

Vrnda

Iraq war mom - mixed media drawing by Lee Lee

When I was pregnant, I had the opportunity to listen to one of the impassioned speeches given by Vrnda Noel in Denver. Mother of a combat medic in Iraq, she shared deeply emotive stories of what was happening there based on letters written home by her son. She had made him promise to write about his experiences in minute detail. Ultimately this ended up being cathartic for him as there were many traumatic situations that he was able to let go, and then forget. The speech she was giving was during an anti-war rally outside our local senators’ offices and I was struck by the expressions of love, sorrow and fear that passed through her delicate features. After his return to the US, they created a number of participatory creative projects that spoke to the impacts of war and the process of healing the mental wounds from it. Empty army boots and civilian shoes installed in Civic Center Park represented the growing death toll on both sides of the conflict. The combat paper project helped Vets transform by encouraging them to purge frustrations by destroying uniforms, then use the pulp to create artworks. Their practices inspired some aspects of the community work I’ve developed over the years since.

This series of portraits was included in the very first exhibition I had after Thatcher Gray was born. I created them while he was in my womb, and the process allowed me to consider this relationship between a mother and her war torn son. Shreds of oil paintings that I had torn apart with a shotgun were used as the base of a collage, which I then laid hot coals atop to produce a speckling of charred board across the picture plain. Pencil drawings depict the range of expressions that passed through Vrnda as she spoke with determination about her love for her son, and as an extension, all of the other sons affected by war.

Iraq war mom - mixed media drawing by Lee Lee
Iraq war mom - mixed media drawing by Lee Lee
Iraq war mom - mixed media drawing by Lee Lee
Categories
Asia

Confined shrines

As my pregnant belly swelled through the second trimester, I resided at the Ragdale Foundation on an awarded residency to work on a series of mixed media works depicting the confined shrines I photographed in Myanmar 3 years prior. I was struck by how many Buddhist shrines were kept in cages under lock and key and felt the images were a poignant reflection of the political climate. Some of the works contain Burmese newspaper collaged in. They were created with a xerograph process which involves transferring xerox copies, in this case of high contrast photographs of the cages that surrounded the shrines. Atop the transfers, Embedded within the cages are the golden shrines, well tended aside from being caged.

mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
mixed media painting from Myanmar by Lee Lee
Categories
Africa

Santaria

Cuba

Santaria priest dog oil painting by Lee Lee
Priest’s dog | Cuba | oil on canvas | 5.2006

During a visit to Cuba in the winter of 2000, we had the opportunity to partake in a blessing performed by a Santaria Priest, just outside of Havana. We witnessed the sacrifice of a pure white chicken, the blood of which added to the layers caked upon his shrines, which added a deeply visceral quality to the forms sculpted by use over many years. The room was dark, lit only by a couple of small windows and candles that were nestled into the organic forms of the shrines. The practice largely grew from African traditions brought to the island during the forced migration of slaves. The materials that were used could be seen as common, yet they were imbued with significant symbolism which allowed them to be used as tools for prayer during these dynamic rituals. Chains represented enslavement and rusted railroad spikes carried the sleek energy of the rail as a passageway or path down which we may release our energy in the world. Tree branches were incorporated as representations of the transfer of energy between earth and sky. Home made dolls incorporated a human element into the mix. Eggs were incorporated within the act of the ritual as a powerful symbol of regeneration. Feathers used as symbols for freedom. It took many years for the experience to settle. Ultimately I created a series of mixed media works on paper integrating stone lithography, collage, rust stains and drawing with oil pastel, spraypaint, chalk and pencils. The largely abstract works are intended to capture the feeling of the space, and the shifting, almost swirling energy produced by the act of the ritual, which culminated in the representations of the shrines as fragmented. It’s as if the energy imbued in the symbols that made up the shrine were breaking apart to lend their energy to the acts performed within this space.

Santaria Shrine - mixed medial work on paper by Lee Lee
Santaria Shrine - mixed medial work on paper by Lee Lee
Santaria Shrine - mixed medial work on paper by Lee Lee
Santaria Shrine - mixed medial work on paper by Lee Lee
Santaria Shrine - mixed medial work on paper by Lee Lee

Categories
Sacred Practice Women

Pietà

Torched Angels from Havana’s Graveyard

We had the opportunity to travel to Cuba in the winter of 2000. I was inspired to paint this series based on the feelings I received from meeting artists, exploring Havana’s International Art Biennial, discovering the coutryside and convening with a Santaria Priest. The layers of history, emotion and social relationships are complex. There is a great deal of pride and frustration both. The portrayed figures come from photographs I took through Havana’s main cemetery. For me, the series of white stone angels and portraits of the Virgin Mary were charged with a similar range of emotions I felt while meandering through the various urban neighborhoods and landscapes there. There is a great deal of loss held by community members yet they continue to hold strong to the qualities that define them as uniquely Cuban.

The works were created with a blowtorch. I burned layers of collaged materials then painted the portraits of the cold marble figures atop of the charred works. At this time in my creative evolution, I was exploring ways of conveying resilience in the face of seemingly insurmountable challenges. I remember a particular conversation with a group of musicians in Pinar del Rio about how my process integrated destruction into the textual layers of a work. I had shown them a series of works from Cambodia, where I had portrayed icons from Angkor Wat atop layers of wood I had torn up with a shotgun. They questioned the order in which the works were made, asking if I was mutilating these figures in an aggressive way. I told them than no, indeed I was not. The figures grew as representations of an enlightened state out of the fields that were pieced together from the violent process of literally tearing it up with a shotgun. The conversation made me acutely aware of how process contributed to the meaning inherit in this kind of work.

Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee
Cuban Angel painting by Lee Lee