Beyond Ethonoscape

Seedling Art Space

Saturday 2 April-Sunday 17 April 2011



Jina Lee was born in Seoul and recently graduated with a BFA and MFA in Painting from the College of Art and Design at the Ewha Women’s University in Seoul.

She has exhibited her work in various galleries and institutions in Korea as well as in Europe, and has been involved in residencies and workshops here in Australia, in Korea, and in France. She is currently working and living here in Adelaide and has a studio residency at the Australian Experimental Art Foundation.

Jina’s multidisciplinary practice is generated by her response to the many intercultural experiences she has had and it manifests as a series of psychological narratives presented as installations involving combinations of hand-made sculptural works, paintings photographs and video.

These are sited site-specifically and evoke a kind of organic viscerality; tangled branch-like components made of felt or cloth, sometimes of industrial materials like heavy plastic piping, are entwined and untwined into tangled and snarled floor pieces absorbing into their tendrilled structures various other objects.

These works attempt, it seems, to recognize and somehow represent the ‘other’ self; the one imprisoned within the walls of cultural expression and suppressed emotionality. Jina Lee’s practice directs itself towards the liberation of such imprisoned energies but also towards the liberation of a certain kind of assumed objectivity about the various boundaries of self.

These boundaries are blurred and such a practice, she argues, helps her to dissolve them, at least within her own self. Her art then is really about the attempt to engage in intersubjective communication both with aspects of her inner world as well as that of others. Of necessity it’s then also a collaborative practice through an ongoing engagement with and a commitment to the idea of palimpsest as practice.

The dissolution of boundaries both within the self and between individuals might seem to grandly romanticise both the approach to a contemporary practice as well as its outcome.

But is this a romantic gesture or simply a deep and clear-eyed engagement with the world-as-it-is?

Jina Lee’s April 2011 installation in Seedling Space is titled ‘ensarl’. The seemingly endless loops and circles traced by vein-like plastic hoses inside the tiny room’s volume are encrypted with quotations from Arjun Appadural’s ‘Modernity at Large’, written at Princeton University as part of the Globalization Project.

As we attempt to visually decipher Appadural’s words snaking and disappearing away from us we are also able to listen to the texts being narrated via a concealed speaker.

These seem to ensnarl us through meanings that both newly fragment and surprisingly compel, as they restlessly trace and retrace new boundaries over ancient, even primal, selfscapes.

These plastic veins carry meaning-as-blood throughout the ensnarled body, nourishing its extremities in order that it may simply continue its life work of  an endless erasure and enscription of self.  

Domenico de Clario




Dr Domenico de Clario


Australian Experimental Art Foundation

Lion arts centre, North Terrace (West end) Adelaide, South Australia

PO Box 89091 Station Arcade

South Australia 5000


Adjunct Professor (PhD MA), South Australian School of Art, Architecture and Design, 

University of South Australia, Adelaide

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