The Monster

Exhibition 2 - 30 March 2024

“The Monster” envisions a traumatised, diminutive creature, the protagonist, who becomes ensnared within his own imaginative realm. These artworks, presented as a series of emotive objects and psychological dioramas, serve as unsettling vessels for the creature’s mind.

“I felt compelled to use flawed found materials in these artworks to explore “wounded” objects – vessels of trauma – and express our shared human fragility anguish and resilience.”

The “trauma” vessel: objects showing wear, tear or damage often symbolise the scars and wounds of history and personal experience.

During 2022, living in the UK at the time, I witnessed the gradual easing of Covid-19 restrictions and a return to normality. However, the country grappled with political instability and a severe cost-of-living crisis. In February, Russia invaded Ukraine, war has been causing immense human suffering. As an artist, I felt compelled to explore “wounded” objects (the trauma vessels) during times of personal and collective anguish and humility.

My artworks for this exhibition, mostly created in 2022, are made from repurposed materials. These include found objects and salvaged items collected from antique markets in the UK and online marketplace. Once discarded as orphaned objects, the aged and worn-out everyday items – old serving tray, salvaged glass and picture frames, pottery shards, rusty nails, dried plants and so on – longed for new expressions. My goal was to transform these delicate pieces into something that can bear the weight of our emotions. The imperfect finishes in the artworks are intentional. I wanted to capture the raw energy of life using the power of our minds and hands.

An independent exhibition organized by the artist, held at Yrellag Gallery on Prince's Terrace, Hong Kong.

SELECTED ARTWORKS

M E L A N C H O L I A
In “*Melancholia*”, I caught fleeting glimpses of cotton wool-shaped shadows in my peripheral vision. The early hours have a depth, with bodily features softened by a mysterious melancholia and a deeper part of the human psyche. Chinese ink was infused into cotton wool, and an old picture frame was used as a backing.
22 x 28 x 3 cm

T H E A T R E O F R U I N S

“*Theatre of Ruins*”, is a diorama created from a salvaged darkroom developer frame and various found materials such as corrugated packaging, metal wires, pottery shards and rusty nails. From a window overlooking the chaos – torn curtains and ruin framing the theatre of reality – our imagination provides the space to rearrange the scene of destruction.
30 x 24 x 3 cm

Two paintings, “*Mind Surfing*” and “*Falling Flowers Flowing Water*”, are among the eight pieces selected for the exhibition. They’re created using glass panels salvaged from old picture frames. The first depicts a resilient mind riding crashing waves while the second shows flowers swirling down a flowing river. I imagined the wind carrying away not just leaves but also fragments of our sorrow dispersing into the air. I explored the chemistry between ink and oil colour despite their incompatibility. This reflects my desire to embrace the unexpected in every encounter. I adopted the reverse painting method, applying paint to the back of the glass. This not only creates a glossy smooth finish on the front but also adds a challenge to controlling the outcome.
62 x 29 x 0.3 cm (left), 60 x 42 x 0.3 cm (right)

These cheeky and nocturnal mythical creatures, resembling imaginary friends, call out to play. I created the toy theatre from an old wood tray and salvaged papers and wood shards.

I imagined the last scene: the last gorilla walking away, amidst all the beauty, into the wilderness, retreating into something deeper…

One day I accidentally broke a bowl. It was simply an experiment a journey to deepen my connection with the bowl even though it could no longer serve its original purpose. However, as it evolved it soothed my mind with the openness we shared in its fragility. Now adorned with pieces of clay paper pottery brass and plants.

Composition of objects: The dog is patiently waiting - the altar of loyalty, affection, protection.

A found old wooden photo frame with doors, its charred surface holding ink on paper. Standing before this installation evokes a sense of reverence, and the darkness in my works speaks volumes about the light it illuminates. Isn’t that the duality of life?

A F T E R M A T H
“*Aftermath*” explores the nature of life cycles and rebirth. Using a vintage serving tray, I scrubbed off the paint and laid a thin layer of ink-soaked paper. Then I treated it with fire, creating a ‘cracked ground’ with a hole left behind after destruction. A sunflower seed was placed in the centre of the broken earth surrounded by fractures symbolising a new beginning. Sunflowers are a powerful symbol of resilience, strength, and hope.
57 x 43 x 3 cm

A C H E D U S T
They claim pain only exists when the brain decides it does. So why do we hurt so much? “*Ache Dust*” is a simple and yet powerful piece on canvas applying empty medicine tablet blisters I consumed after a major operation. It’s a poetic sentiment and a empowering image of pain transformed into stardust – the very material that fuels life. Every atom of oxygen carbon and calcium in our bodies originated within a star.
41 x 53 x 2 cm

A wooden canary cage was transformed into a diorama. Set the scene using an old scarf with treatments. A bear cub ventures out into a deep, dark forest, unaware that it will become the walking light in the darkness.

A detail view: a A snug, crafted from an old wooden box, stands with a chair contemplating the force of a colossal paper flower.

Consequences of one action.
On a large folded paper I cut a hole, an action leads to a multiverse, parallel universes, in a manner of speaking, the open wounds lie parallel to each other because of one action, and our infinite number of actions.

Bodily expression of emotion

In addition to exploring everyday surrounding objects such as wooden boxes, paper, textiles, and ceramics, Claire Lee also perceives body movements as integral components of her artistic expression. She captured video footage of her body movements and postures, contemplating her mental state as she created. In her text, she cited emotive body expression as a source of inspiration:

“Although I am not a dancer, I sought to explore my body language, almost as if mourning the loss of identities of cherished objects.”

Subsequently, she incorporated some of these dance movements into the dioramas she crafted, ultimately culminating in a series of theatrical imageries on digital prints.

SELECTED ARTWORKS - Photo Prints

THE EMBRYO ROOM, Claire LEE, 2023
42 x 59.4cm print size, 58.5 x 80 x 0.5cm frame size Print on Japanese Washi Paper

All images courtesy of the artist. Interview courtesy of RTHK, Yrellag Gallery and the artist.