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2024
Works
Opus Series
Studio
2023
Exhibitions
LL Interspace: HOTPOT
Galerie KUB
2023
Works
Composition no. 3
Studio
2023
Works
Composition no. 1
Studio
2023
Works
The New Altar no. 4
Studio
2023
Works
The New Altar no. 3
Studio
2023
Exhibitions
Ketterer Kunst Masterclass Preis 2023
Ketterer Kunst
2023
Works
The Absurd Dance no. 3
Studio
2023
Works
The Absurd Dance no. 2
Studio
2023
Works
The Absurd Dance no. 1
Studio
2023
Exhibitions
Table of Contents
Bistro 21
2023
Works
Instant Crush
Studio
2023
Works
Drawing Set for Study no. 1
Studio
2023
News
Open Studio: L’air Arts Paris
Cité Falguière
2023
Works
Life no. 1 & no. 2
Studio
2023
News
Residency: L’air Arts Paris
Cité Falguière
2023
Works
Sigil no. 1
Studio
2024
Texts
Dancing in the Pandemic Blues: The significance of Musical Optimism in Times of Crisis.
Publication
2022
Works
Tacet and the Portrait of a Headless
Studio
2022
Exhibitions
Just Rolllllll
documenta fifteen
2022
Works
The Circle of Love
documenta 15
2021
Exhibitions
Between Strangers
Nuweland Gallery
2021
Exhibitions
Investec Cape Town Art Fair 2021
CTICC
2021
Exhibitions
11:11
Eclectica Contemporary
2020
Exhibitions
Peepshow
Online
2022
Exhibitions
Neighbours / Des Voisin.e.s
Cité Falguière
2020
Works
Bearing Between the Wheel and the Cycle
Studio
2020
Exhibitions
Art Rotterdam
Rotterdam
2019
Press
Two artists use video and sculpture to explore perceptions of history and memory
Design Indaba
2019
Exhibitions
Satellites
Suburbia Contemporary
2019
Press
Kyu Sang Lee
SA Art Times
2019
Exhibitions
Investec Cape Town Art Fair 2019: SOLO Section
CTICC
2019
Press
Restful Moments: Cape Town Art Fair’s SOLO exhibition
The Art Momentum
2019
Press
Spotlight on Investec Cape Town Art Fair 2019
Artthrob
2019
Press
Artist to Shine at the Art Aair
News24
2019
Press
Investec Cape Town Art Fair 2019 champions emerging artists and digital practices
Bubblegum Club
2019
Press
10 Reasons To Come To Investec Cape Town Art Fair In 2019
Africa.com
2019
Works
The Sound of Light: Sequences I-III
Studio
2019
Exhibitions
Still Here Tomorrow to High Five You Yesterday
Zeitz MOCAA
2018
Press
The Structured Surrealism of Kyu Sang Lee
The Art Momentum
2018
Exhibitions
Also Known As Africa
Le Carreau du Temple
2018
Works
A Motif for Thrity Two Irregular Orbits
Studio
2018
Works
Photographs in Twelve Parts
Studio
2018
Exhibitions
Throwing Shapes
SMITH Studio
2018
Exhibitions
nano 1.2
Barnard Gallery
2018
Works
ein kleines Nachtfoto No.2
Studio
2018
Works
ein kleines Nachtfoto No.1
Studio
2018
Exhibitions
Stop Stop Click
Eclectica Contemporary
2018
Exhibitions
Investec Cape Town Art Fair 2018
CTICC
2017
Exhibitions
Salad
SMITH Studio
2017
Exhibitions
SS17
Gallery MOMO
2017
Press
SS17 at Gallery MOMO
Artthrob
2017
News
Kyu Sang Lee wins a Celeste Prize
University of Cape Town
2017
Exhibitions
Celeste Prize 2017, 9th edition by Fatoş Üstek
OXO Tower Wharf
2017
Works
Cry When Flowers Fall in the Morning
Studio
2017
Exhibitions
Turbine Art Fair
Turbine Hall
2017
Works
Matisse and the People of the Night
Studio
2017
Works
Dancing Along Alone
Studio
2017
Exhibitions
Be Kind, Please Rewind
Gallery MOMO
2017
Exhibitions
Marked
Eclectica Print Gallery
2017
Works
Still-life with Three Suspended Bodies
Studio
2017
Exhibitions
Paradise Regained
Eclectica Contemporary
2016
Works
The Festival of Insignificance
Studio
2016
Exhibitions
Meditative Moments
Müllers Gallery
2016
Exhibitions
By Way of Hand
Cape Town School of Photography
2016
Exhibitions
Focus
Jan Royce Gallery
2014
Works
From Now to Then
Studio
Opus Series
Works
2024
Studio
Opus series
2024
Wooden frame, paint, resin, archival photograph.
100 x 80cm

In Opus Series, the artist employs a wooden frame not merely as a structural component but as an integral element of the compositional schema, thus unifying the artwork into a singular entity. The application of black paint, subsequently overlaid with resin, imparts a surface reminiscent of a grand piano, thereby imbuing the work with a tactile, reflective quality. This method of presentation serves not only to display photographs but also to merge them seamlessly with the wooden substrate, thereby eradicating the conventional boundary between frame and content. This fusion facilitates a dialogue among the photographs, drawings, and paintings, all of which are manifest upon the wooden template.

The manipulation of photographic elements through the addition of paint and computer-generated imagery serves to critique and reinterpret the traditional role of photography. By altering the original images, the artist challenges the static nature of photographic memory, suggesting its susceptibility to distortion and the fallibility of human recollection. This approach does not seek to castigate human error but rather to celebrate its inherent unpredictability and the beauty found within these imperfections.

The incorporation of paint marks introduces a temporal immediacy to the work, bridging the chronological divide between the artwork and its audience, and questioning the foundational purpose of photography as a means of documentation. This interplay between mediums situates the work within a liminal space that straddles the domains of painting and photography, thereby complicating the viewer's perception of each.

Central to the artist's inquiry is the essence of realism, explored not through the lens of meticulous representation or plausible narratives but as an experiential phenomenon that transcends the confines of the artwork itself. The incorporation of paint marks introduces a temporal immediacy, bridging the chronological divide between the artwork and its audience, and questioning the foundational purpose of photography as a documentary medium. This philosophical stance, coupled with the challenge to traditional roles of photography through alteration of images, advocates for a complexity in art that defies simplistic interpretation and categorisation, thereby positioning the amalgamation of mediums and materials as a fundamental inquiry into the nature of art itself, rather than merely a methodological choice.
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