At initial glance, these didn’t rather look like Mike Lee is effective. The colour palette is there, that almost technological precision is there, like digital prints hand-painted. But what applied to be additional figurative has come to be illusions of existence, a hint of a figure but ghostly. It is almost as if he is at a fight with his applications, to fully grasp what to exhibit and what to leave to an creativity. The effects are thrilling for an artist with a masterful hand and ingenuity in his system for decades now.
“Gaming society was a huge element of my adolescence and a sort of escape,” Lee says. “As a baby, the fascination with war was tied to a amount of fantasy and excitement, but approaching adulthood I designed a far better comprehension of the real penalties. The increase of the world wide web and accessibility to popular information and facts provided me an perception to the enormous catastrophes as perfectly as the discrepancies of the media’s encapsulation of reality.”
His solo show, No Man’s Land, on view at 50 percent Gallery in NYC, feels confident and delberate in his new target on surface and story. It is really a peaceful nod to conflicts in lifestyle and in politics, also an understanding that humanity has shifted over the system of the very last a few several years. Lee is up for the problem of the instant. —Evan Pricco