In Bovey Lee’s new works for Conundrums, she continues to cut paper in narratives that explore the tension between man and the environment in the context of power, sacrifice, and survival. Where natural and man-made disasters, like the tsunami that ruptured the Fukushima Daiichi nuclear power plant, intermingled in past works, new works show examples of hopeful cooperation between technology and the landscape. In one series, depictions of village life appear as detailed decorations on large vase forms. Mountains, rivers, and trees rendered in the style of ancient landscape paintings are encroached upon by up-dated examples of infrastructure; a high-speed transportation hub, which finds its parking lot of cars nestled in hills like the rows of crops they have replaced, or a business park perched on a hillside beside a steep scenic trail once traipsed by humble travelers or spiritual seekers going to the mountain shrine. In another series, the four seasons are each represented by densely cut images framed within an open business briefcase. Lee’s up-dating of the landscape painting to a techno-forward version - where machines perform not only human labors but feats that mimic the forces of nature - becomes even more mind boggling when one remembers the intricate details of her vision are cut by hand, a craft not yet turned over to mechanical device.
Lee was born in Hong Kong, China and has a BA and BFA degree from the Chinese University of Hong Kong, an MFA in painting from UC, Berkeley and an MFA in Digital Arts from Pratt Institute, Brooklyn, NY. Exhibitions include the Asian American Arts Center, NY and the Grotto Fine Art Gallery in Hong Kong; her work is in the collections of the Ashmolean Museum of Art & Archaeology, Oxford University, UK and the Hong Kong Museum of Art in Hong Kong among others. She currently works and lives in Pittsburgh, Pennsylvania.