Enamel and oil paint, 2011-Present
Robert Lee's paintings involved manipulating and rotating a two-dimensional plane to form different geometries. Starting with an imaginary plane, Lee re-envisioned both the form and orientation. He stretched, torqued, expanded, and squeezed the two-dimensional plane until a three-dimensional form develops. Integral calculus acted as a catalyst in his thought process as he developed his concept for his Re-Created Paintings.
Next, using a computer program, Lee metamorphosed the photographs of his past paintings as a source material. This produced a transformed, visual image of a polygon, which Lee transcribed on paper. Using this image, he found the longest possible length (A) of wood that he wanted to recycle into a new painting. Using the corresponding length of the polygon drawing (a) with a second length from the drawing (b), he set up a mathematical proportion in order to find the unknown length of the wood (B).
Throughout the process, Lee contemplated two passages. The first was "For we know that the whole creation groans and labors with birth pangs together until now" . Lee's past abstract expressionist images have made a commentary on this verse. The second states, "For behold, I create new heavens and a new earth;/ And the former shall not be remembered or come to mind'". This quotation became the cornerstone and inspiration for this current body of work, as he endeavored to re-create his own art. These new paintings interact with the negative space of the wall forming a new, unified composition, resulting in holistic images.
Robert Lee received his BA in Visual Arts from UCSD and an MFA from CSULA.
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