Orange Container: An Analysis of Youngjun Lee’s Exploration of Pictorial Space

By Shin Ji-jhyun

Curator of Iimin Museum of Art

Can the accumulation of lines and colors layered upon a flat surface transcend form to evoke spatial dimensions? If so, is pictorial space a creation, a discovery, or perhaps something that exists in the liminal space between them? Instead of offering definitive answers to these questions, Youngjun Lee extends the inquiry, exploring the possibilities inherent in pictorial space. In Lee’s work, layers adhere to the flat surface while simultaneously constructing a spatiotemporal realm that extends beyond the plane. His compositions can be described as a kind of score, informed by memory and experience, rather than merely an accumulation of overlapping layers. This invites viewers to lose themselves and then rediscover their sense of direction within the work, thereby embarking on a vicarious journey through the artist’s pictorial topography. At close range, the textures and materiality are unmistakably pictorial; from a distance, an entirely different spatial dimension emerges. Lee’s paintings, therefore, are not static images confined to the plane but dynamic, fluid fields where time, perception, and sensation intersect, perpetually reconfiguring themselves through this interplay.

An intriguing aspect of Lee Youngjun's work lies in its apparent deconstruction of norms traditionally associated with the medium of painting—such as flatness, representation, and periodic conventions—while simultaneously and persistently operating within these formal limitations. Lee transforms the canvas itself into a problematic and critical object, prompting contemplation on the essence of painting as a longstanding medium. Beyond the regular grids, Lee’s hands-free drawings and stenciled patterns emerge as products of an explosive force, evoking the rebellious spirit of graffiti through their spontaneity and reproducibility. This dynamic undermines the authority of painting—especially the absoluteness and finality often associated with abstraction—while redirecting the medium toward the free, unpredictable energy of the street. However, other layers juxtaposed with these gestures evoke the color-field abstractions of master painters, inviting contemplation of a more fundamental and transcendent spiritual depth. The interplay of points, lines, and planes—reminiscent of childlike playfulness or accidental water stains—effectively conjures the mundane occurrences of human existence, anchoring the work in the realm of the everyday. The multiple layers floating across the canvas guide viewers into a world of undefinable complexity, a likely intentional effect by the artist. In reality, every element within the frame is the product of meticulous calculation. Lee Youngjun does not simply pour multi-layered formal elements onto the canvas; rather, he employs speculation and simulation to achieve a delicate tension and balance between the flatness and spatiality inherent to painting. The coexistence of grids, recurring patterns, and atypical lines reflects a dynamic oscillation between regularity and autonomy. The process of calibration unfolds as a continuous act of dismantling all randomness, positioning his work not as a completed, finite image but as a potential canvas—open to transformation and expansion.

In the early stages of his artistic career around 2020, Youngjun Lee’s work exhibited a more figurative and narrative quality compared to his current oeuvre. As evident in the titles, works such as Three Dogs in a Plastic Bag (2020), Falling Down in the Spring (2020), and Das Sinken (2020) reveal the influence of personal experiences and storytelling. However, as this approach began to feel repetitive, Lee made a conscious decision to redirect his focus towards the formal and methodological aspects of painting itself. Beginning in 2023, he initiated a deliberate shift away from narrative and figurative imagery, emphasizing a deeper exploration of the medium. The crux of his experimentation now lies in the materials employed in constructing pictorial layers, the conditions of the ground, and the methodologies underpinning his manipulation of these elements. Lee’s approach transcends the conventional act of “layering.” Instead, he employs partial applications and parallel arrangements to explore the possibilities of pictorial space within the two-dimensional plane.

In contrast to his earlier works, which often followed sequential progression from left to right or top to bottom, Lee has now abandoned such narrative directionality, choosing instead to interweave temporal currents within his layered compositions, thereby disrupting conventional chronology. For example, he might create the illusion that a shadow-like layer was painted first, when in reality it was a later addition. This approach invites viewers to simultaneously trace and question the creative process, effectively losing their way within the work, as previously noted. Such disorientation can be seen as the artist’s invitation for viewers to linger within his pictorial realm—or, more actively, to “play” within the carefully constructed space. His canvases, balancing playfulness and seriousness, vibrancy and temporal disjunction, naturally prompt reflection on the artist’s movements and the time invested in creating them. The works featured in this exhibition are fundamentally based on square grounds. While some may perceive this as a formal decision aimed at achieving homogeneity through square grids, it is more closely tied to the artist’s exploration of balance within the canvas, induced by dynamic shifts in direction during the creative process. Although the final works are displayed on walls with a definitive frontal orientation, they are the result of a calibration process involving horizontal, vertical, and rotational manipulations. This methodology ensures that the compositions avoid appearing overly rigid or monotonous while also steering clear of a chaotic or uncontrolled aesthetic. Lee’s practice is not rooted in adhering to specific perspectives or layering for its own sake. Instead, his focus lies in achieving equilibrium within the interplay of symmetry, tension, and misalignment. The process of capturing or concealing emergent images within this balance forms the core of his artistic practice.

A crucial aspect to reconsider in Youngjun Lee’s work through this exhibition is the significance of the word “contain.” This term, which resonates with the exhibition title Orange Container, suggests that his canvases function not merely as flat surfaces for presenting images but as spaces that “contain” sensory experiences and narratives transformed into pictorial layers. The accompanying word “orange” in the title, which the artist described as a “frequently used color,” warrants deeper reflection. This preference may stem not merely from superficial taste but from layers of memory and experience embedded in the subconscious. Colors inherently carry diverse meanings shaped by external and internal factors, such as historical context, regional influences, cultural associations, and economic conditions. Thus, reducing a color’s meaning to conventional interpretations of its expressive or symbolic qualities is inadequate. Moreover, colors have the capacity to encapsulate deeply personal and intimate memories.

Youngjun Lee’s works are characterized by a rich spectrum of colors and tones, defying categorization into a specific mood and extending far beyond his use of orange. Among the recurring elements, the frequent incorporation of white is particularly noteworthy. White lowers saturation and reduces clarity, contributing to a distinctly soft and hazy aesthetic. This visual element may correspond to the “afterimages” of personal memories deeply embedded within the pictorial space Lee constructs. These traces, akin to codes intentionally embedded by the artist for his knowledge alone, are not necessarily intended to be unveiled in the present but may instead serve as clues to layers that could emerge in the future. In this sense, could “orange” function as a conceptual smokescreen or an additional layer of meaning? This interpretation reveals that Lee’s visual language is neither simply vibrant and refreshing nor solely an experiment in medium. Instead, it possesses emotional gravitas while remaining sensory, resisting easy categorization. The disorientation experienced within his pictorial trajectory is thus not accidental but a deliberate effect.