The intertwined journey of a textile visionary
SEONGEUN LEEThe artistic path is deeply rooted in its life commitment with textiles. Currently pursuing a doctorate. At the National University of Pusan in Korea, she previously obtained her MA in textiles at the Royal College of Art in London, refining her expertise between two dynamic artistic environments. Her creative journey was shaped both by the physical landscapes she lives in and the deep influence of her family, in particular her mother, who is also a textile artist. The decade that she spent immersed in research and textile practice has become the decisive force behind her work, offering a basis for her evolving artistic philosophy.
His work questions the conventional concepts of textiles, extending beyond the surface design in the field of soft sculpture. Rather than adhering to traditional textile applications, it manipulates fibers in three -dimensional forms that engage viewers at tactile and conceptual levels. These sculptural textiles do not transmit immediate or manifest messages but rather work as metaphors – subtle explorations but evocative of essential human questions. The themes of existence and materiality are at the heart of her work, because she continually seeks means of transforming abstract concepts into tangible experiences.
The artists who inspire Lee also reflect his dedication to repelling the limits of textile art. She finds a deep resonance in the works of Magdalena Abakanowicz and Olga of Amaral – figures known for their sculptural approaches to the art of fibers. The sustainable impression of their exhibitions in Norway and France solidified its commitment to exploring the potential of textiles as an artistic and structural medium. In her workspace, surrounded by posters of these influential figures, she cultivates a creative environment that fuels her current experiences with form, texture and spatial dynamics.
Seongeun Lee: an inheritance of artistic influence and exploration
Lee's artistic trajectory was deeply shaped by his mother, whose own career as a weaver has laid the foundations for the exploration of textiles by Lee. Having grown up in an environment where artistic discourse was a natural element of daily life, it was encouraged to reflect critically about the materiality, form and expressive possibilities of fiber. Conversations with his mother extend beyond technique and process, plunging into the conceptual and philosophical dimensions of art. This intellectual exchange has become a catalyst for its own surveys on the sculptural and abstract qualities of textiles.
Although his mother provided the basis of her artistic sensitivities, it was the work of Magdalena Abakanowicz who sparked her academic and professional exploration of textile sculpture. During her doctoral studies, Lee devoted research important to the Biennale de l'Art de la fiber Internationale de Lausanne, where she analyzed the transformation of the textiles of Abakanowicz of flat surfaces into monumental sculptural works. Abakanowicz's ability to impregnate the fibers with a spatial presence and a symbolic depth has deeply resonated with Lee, influencing both its artistic direction and its learned activities.
Beyond historical influences, Lee's commitment with contemporary artists has also informed his practice. Donald Judd's “title” modular works were particularly important to shape his approach to textile sculpture. The minimalist philosophy of Judd – the emphasis on materiality and repetition – has current LEE explorations on modular textile forms. By removing excess and focusing on the essential qualities of structure and texture, she seeks to create works that echo the simplicity and clarity found in Judd sculptures while remaining faithful to the inherent flexibility of fiber -based materials.
Materiality and the sculptural potential of textiles
The choice of Lee textiles as a main medium is motivated both by its tactile qualities and its structural possibilities. His studies at the Royal College of Art allowed him to refine his technical skills, in particular in knitting, which has become the cornerstone of his practice. It carefully selects the threads of thicknesses and variable textures to build surfaces that balance resilience with softness. This meticulous attention to the material guarantees that his works retain their sculptural integrity while maintaining the sensory engagement inherent in the textiles.
To fill the gap between the softness of the fibers and the rigidity of the shape, Lee incorporates metal frames into its sculptures. These internal structures provide the support necessary for his textile works to maintain their planned form while preserving the organic fluidity of the material. This interaction between strength and flexibility is at the heart of its artistic philosophy – it constantly explores how textiles can transmit stability and movement, resistance and adaptability simultaneously.
His vision extends beyond individual sculptures to the transformation of whole spaces through textile interventions. It envisages immersive installations where woven forms redefine the spatial limits, allowing the public to engage with textiles on an architectural scale. By rejecting the limits of the structural potential of the fiber, it aims to create environments where the material and the space interact in a dynamic and unexpected way. His work suggests that textiles, often perceived as decorative or utility, have the capacity to reshape physical spaces and redefine artistic meetings.
Seongeun Lee: the future of textile -based spatial experiences
Lee's artistic ambitions are focused on the idea of expanding the role of textiles beyond their traditional applications. It envisages large -scale works which question the conventional perceptions of fibers by merging the flexibility of the fabric with the structural force of woven forms. By manipulating the inherent properties of textiles, she seeks to create immersive environments that invite viewers to feel fibers both as a material and a means of spatial transformation.
His approach is deeply influenced by dialogue between materiality and minimalism, in particular in its continuous exploration of modular textile sculptures. The influence of Donald Judd's systematic approach to form is obvious in his pursuit of repetition and simplicity in fiber -based constructions. However, rather than strictly adhering to rigid geometries, it introduces the organic variability of textiles, allowing a fluid interpretation of modularity. Thanks to this balance of precision and adaptability, it continues to push the limits of what textile art can achieve.
As she continues her research and her practice, Lee remains determined to explore the sculptural and architectural possibilities of textiles. His future projects will examine more how fibers can shape not only individual objects, but also whole spatial experiences. By integrating strength with sweetness, the structure with fluidity, it aims to redefine the functioning of textiles in contemporary art, offering a new perspective on their potential as sculptural and immersive elements. Thanks to her evolving work, she challenges viewers to reconsider the role of textiles – not as passive surfaces but as dynamic and transformative forces in the artistic landscape.
