To make these mechanisms visible, Lee puts things in the foreground that are generally considered frames, backgrounds or tools, directing our attention to what is otherwise often overlooked. One central element in the artist’s visual language is chroma key green – a colour developed in the 1960s for green screen technology. Although chroma key green is a striking colour, it usually remains invisible as a projection surface. For Lee, it symbolises the attempt to adapt to new circumstances and to fit into different contexts. Other recurring motifs are focus charts and calibration diagrams. Such technical aids are used by photographers to adjust the camera’s focus and depth of field. In Lee’s work they stand metaphorically for human perception, which is shaped by societal norms and external factors. Lee’s sensitivity to the conditions of seeing is closely tied to his own biography. In his multidisciplinary practice, he combines images, objects and stories from the different contexts in which he has lived. Born in Seoul, South Korea, he moved with his family to Cape Town, South Africa, when he was a child. He later studied at the Academy of Fine Arts in Leipzig. In 2024 Lee returned to Seoul, where he now lives. His personal background is characterised by multilayered influences as well as an ongoing search for belonging and forms of understanding across cultural differences. Out of this search emerges a subtle and poetic visual language, an image world in which time seems to stand still. We, as visitors, are invited to step in, to look carefully, to question what we see and to share our readings with each other.