Category Archives: All Series

Hyakkin Still Life (series), 2017

In 2006, Evan Lee created a series of works entitled Dollar Store Still Life that depicted cheaply manufactured goods purchased at a dollar store but presented in the style of traditional Dutch and Flemish still life genre paintings. Historically, these still life paintings were intended to showcase an individual or family’s wealth, capturing their most valuable possessions. They were also considered allegories of time, depicting rotting fruit and flowers and presenting moral lessons about vanity, the pursuit of worldly goods, and the certainty of death. Lee’s 2006 still lifes composed of inexpensive consumer commodities questioned contemporary values placed on popular goods, as well as the economy of overseas manufacture and import.

The term Hyakkin refers to a “100 yen store” in Japan. For the revisiting of this series, Lee composed still lifes using only items from Daiso, a Japanese dollar store located in Richmond. Returning to the series 10 years later asks us to consider changes in the economic and geopolitical state of our consumer culture: do these Asian goods change our expectations of a still life? What is the value of a dollar one decade later? Lee’s series continues his discourse on contemporary values as they relate to consumer goods, and asks us to reflect on the economic and demographic changes that have occurred over the past decade.

Billboard Installation, Hyakkin Still Life for Capture Photography Festival

Ichiban, 2016 (series)

Ichiban DSC_0105 Ichiban DSC_0102

Ichiban DSC_0093 Ichiban DSC_0090

EVANLEE_03-11-2016_00005

Installation view, Ichiban/Fugazi, Monte Clark Gallery
Image courtesy: Chris Rollett

In Ichiban, the artist mixes paint and instant ramen noodles with other found objects to create experimental sculptures that consider the artificial nature of “instant” food, as well as reflecting on ephemeral form and temporality in the artworks themselves. Like the companion work, Fugazi, Ichiban alludes to the complex relationship between that which is “real” and that which is “artificial” in our contemporary culture and art. Lee’s project reflects on his earlier works, such as the Dollar Store Still Life series (2006), which also examined the economic and cultural values of fake and artificial consumer goods

installation photo by Chris Rollett

Fugazi, 2016 (series)

EL Fugazi 24 in 2

EL Fugazi 24 in 1

CZ3-02-F0-004 retouched ALT BACKGROUND B

CZ3-03-F0-003 retouched ALT BACKGROUND B

EVANLEE_03-11-2016_00008

Fugazi consists of 5-by-5 foot prints created from digital scans of cubic zirconia, relatively inexpensive but high quality imitations of diamonds. A “Fugazi“ is a slang term used in Mafia films for a counterfeit diamond. The images are captured at a high level of detail and are enlarged fifteen thousand percent to a scale that renders the gems’ internal appearance as mesmerizingly random, distorted and fractured, while the effects of digital image-loss and artifacting emerge to aid in their visual transformation. The patterns of abstract shapes and reflected colours appear kaleidoscopic and at times groundless, an aesthetic that Lee manipulates further by constructing geometric backgrounds in response to the resulting visual space.

Fugazi also continues the artist’s interest in psychedelia, illusion and optics, as explored in such earlier works as Every Part from a Contaflex Camera… (2006); Stain (2003); and Phoropter (2012). Contrary to the reproducible nature of photography, each of the Fugazi prints, made on fine art paper, exists only as a signed unique edition of one.

Migrant Portraits, 2013-2014, Oil on Canvas

 Migrant Portraits, 2013-2014, Oil on Canvas

Beginning in 2009, the artist began looking critically at found media and historical images, particularly those depicting protest and migration, with the intention of recreating, transforming, and expanding them through interdisciplinary forms such as sculpture, mixed media, and paintings. Staring with the project, Migrant Ship Re-Creation, this also took the form of several related projects: Migrant Portraits, Black Bloc (Black Blot), Black Bloc Abstraction (Diptych), Burning Flag (after Jyllands-Posten)

In contrast to popular, ubiquitous images of revolution and provocation (such as Alberto Korda’s portrait of Che Guevara, or the graffiti works of Banksy), the found press images that artist refers to are markedly non-iconic, from nameless and faceless Black Bloc protesters to migrants whose identities have been obscured by the press. Lee approaches these images from a perspective of speculation, creating artworks that either reconstruct or further obscure the subjects. This dual process amplifies the missing details and facts that are not included in the original press images or their accompanying news stories, pointing to an inherent confusion or lack of clarity surrounding the actual events.

These works include large-scale black and white paintings where silhouettes of marching Black Bloc protesters have been repeated in a motif that borders on abstraction; earth-toned, classical style oil portraits of the same migrants created in composite from blurry or pixelated press images and online searches; and a video that recreates the burning of a Danish flag, which was originally enacted by protesters in response to anti-Muslim cartoons that were published in Denmark. The works engage in a dialogue with news media images of protest, the interpretation of these images, their bias and their influence.

Installation View, Migrant Ship Re-creation Project, Monte Clark Gallery

Old Women, 2007 (series)

Old Women, 2007

The pencil drawings of Old Women originated with the ongoing photo-documentary project Closer than they Appear. In the communities that the artist was documenting, there were often elderly Chinese women walking the streets and parks. The drawings focus on the individual personalities, gestural idiosyncrasies, dress and accoutrement of these elderly women.

This work was often exhibited in conjunction with the photograph, Portrait of the Artist’s Grandmother from 2006.

Installation view, Drawing Photography, Monte Clark Gallery

Forest Fires, 2009-10 (series)

Forest Fires, 2009-10

In the landscape series Forest Fires the artist continues to employ the manipulated printer ink technique used in Flashers to found images of British Columbia forest fires.

The artist approaches this material in a way that reflects these shifts: he experiments with printing on the back of expired photographic paper and works over the still-wet pigment ink using a paintbrush. This results in a unique (un-duplicable) image that is faint and distorted, and resembles a painting, while remaining fundamentally a photograph. The substrate’s watermark, which reads “KODAK PROFESSIONAL PAPER”, once the proud hallmark of Kodak’s analog photographic legacy, remains visible in the overexposure.

Installation View, In Dialogue with Carr, Vancouver Art Gallery,
Image courtesy Rachel Topham/VAG

Nude and Draped Figure Studies by the artist and his father, c.1950/2008-09

Nude and Draped Figure Studies by the artist and his father, c.1950/2008-09

Another pseudo-collaboration between the artist and his father, where nude studies made by the artist’s father in the 1950s are the source material for a period re-creation. In the finished installation of this work, the images made by the artist in the present were displayed with ones made by his father in the past, as if made by the same person at the same time and place. The artist’s intention was to create an anachronism. This project is the second time that the artists has used his father’s amateur photography and consider both projects to be collaborations with his father despite the 50-60 years difference and his very limited involvement. These projects follow a lineage of conceptual themes considered by artists such as Marcel Duchamp, Sherrie Levine, and Richard Prince probing the idea of originality and authorship in the work of art, but pushes further to consider the uncertain and unexpected roles that certain and unavoidable relations, such as those of family, time and history, might play.

Flashers, 2009 (series)

Flashers, 2009 (series)

The series Flashers examines self-representation nude selfies found online. Each of them was taken in the mirror with flash, resulting in overexposed area that obscures the identity of the subject. 
Collectively, the images are a testament to the change that aesthetics, photography and sexuality have undergone due to the development of digital photography and the Internet.

The artist approaches this material in a way that reflects these shifts: he experiments with printing on the back of expired photographic paper and works over the still-wet pigment ink using a paintbrush. This results in a unique (un-duplicable) image that is faint and distorted, and resembles a painting, while remaining fundamentally a photograph. The substrate’s watermark, which reads “KODAK PROFESSIONAL PAPER”, once the proud hallmark of Kodak’s analog photographic legacy, remains visible in the overexposure.

Installation view, Flashers at Restricted, Monte Clark Gallery

Ginseng Root Studies, 2005 (series)

Installation view, Painting Photography, Monte Clark Gallery, Toronto

Ginseng Root Studies, 2005 (series)

This series features individual studies of 36 different ginseng roots, an herb used in traditional Chinese medicine and by other cultures. These captures are inspired by the botanical specimen photographs of Karl Blossfeldt. It is said that Ginseng Roots resemble the human form, especially in their dried, withered form. Through the scanning process, they come alive, suggesting people, animals and other creatures.

This project has been adapted for a permanent public artwork at River Park Place, Richmond, BC in 2016.

installation view of Again and Again and Again… Serial Formats and Repetitive Actions, exhibit at the Vancouver Art Gallery, May 12 to September 3, 2012
Image courtesy Rachel Topham/VAG

Manual Labour, 2006

Installation view, Manual Labour, Richmond Art Gallery

Manual Labour, 2006

Manual Labour is a video loop comprised of black and white still images depicting an elderly labourer at work and rest at a residential construction site in east Vancouver. The silent procession of images is interrupted briefly when the homeowners arrive for a site visit. The video loop has been exhibited as a projection, and installed in the window of a door to a gallery that remained closed for the duration of the exhibition.