She forms complete trees, including leaves and branches, to produce a work that captures the mood of each season.
Lee’s background was in painting, deciding only to begin working with ceramics again after moving to the United States.
She now works alongside her partner, a fellow artist in the same medium, and creates bowls, vases, platters, and similar items.
All 4 Seasons Are Reflected in Lee’s Work
Her layering techniques add a dimension of realism to each piece, even when the surface is flat, as on a tray or platter.
Lee starts each piece by forming each individual tree.
She begins with the largest in the front and then continues to build perspective by moving progressively backward.
Each leaf receives individual attention, adding another level of depth.
After an initial firing with her home-based kiln in Helena, Montana, she adds an underglaze that requires a high level of technique as no two colors can overlap.
Then she finishes each item with a final glaze that creates the specific effect that she wants.
Her partner cites her time in residence at the Archie Bray Foundation as a seminal experience:
My work, mostly in medium-range porcelain, expanded beyond painted surfaces, my mainstay for many years. I pushed my work beyond the motifs I had been using for many years–flowers, mostly–and built larger than I had before. I was inspired by my children, the landscape of the places where I lived, and my own childhood in Korea, and reflected these themes in my work. I found that working in a place like the Bray, surrounded by other artists who created a supportive, inviting, and welcoming community, gave me the freedom to grow as an artist.