LEE Jinju, Discontinuouscontinuity

(...) If Shiota Chiharu has revealed a ritual space that mediates or “connects” life and death, LEE Jinju, in contrast, draws attention to moments of rupture—akin to death—that briefly surface within life. The severed objects in her paintings, including the recurring motif of the “hand,” as well as the stage-like “landscapes,” refuse the kind of “connection” that might be resolved through interpretation or meaning. Instead, they choose to remain as nightmare-like anamorphoses. Yet, interestingly, her meticulous realism provokes a tactile sensation, paradoxically inciting another form of “connection” through touch.