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Nikki S. Lee: Parts <Revisited>

Nikki S. Lee: Parts <Revisited>

Sep 5 - Oct 14, 2023

79, Dokseodang-ro, Yongsan-gu, Seoul, 04419, Rep. of KOREA

FREE

Tue-Sat 10am - 6pm

Various Small Fires is pleased to present an intimate historical survey of Nikki S. Lee’s iconic Parts series. This exhibition marks the artist’s second with the gallery and Lee’s first presentation of the Parts series in her hometown of Seoul, South Korea.

Nikki S. Lee’s Parts, shot in New York between 2002 and 2004, is an exploration of the multifaceted self. Lee first exhibited the series at the Leslie Tonkonow Artworks + Projects gallery in New York City in 2002 and since then it has been historicized as a trailblazing body of work that investigates the impact of relationships on identity. Appearing in seemingly candid snapshots, Lee at times stares directly into the camera or gazes into the distance. The images often include traces of her (presumably male) partner, but the focus remains on Lee’s emotions and expressions captured within the scene.

Lee physically slices the image of her partner out of each curated scene that hints at their intimate dynamics. The excisions enable the viewer to be inquisitive about the missing (or nonexistent) significant other and ponder upon how male identity may affect the woman who is presented in the scene by herself. In turn, the absence of the other reveals that through interpersonal relationships, one is able to see oneself.

The three white borders left after Lee’s cut in each print show that images are not digitally altered in the camera or computer. Rather, Lee shows more interest in the physical activity of cutting photographs and presenting them as ‘partial photographic narratives.’ It enables the viewer to imagine the relationship, inciting the viewer’s own personal history to fill in the gaps presented in Lee’s staged scenes.

Part theater, part candid camera, this media series most strikingly anticipates how we today, in the era of constructed selfies on social media, portray our own private moments and relationships. Lee’s physical cutting precedes the act of digitally cropping an image, each manipulating how the wider public consumes and gains access to the intimate lives of others.

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