Solo Exhibitions > Slow Burn, 2022

Portable Pond; Work of memory
Exhibition view at The Phillips Museum of Art
2021
L to R: Backbone; Habitat; The Walking Mountain (Ferment/Foment)
Steamers, stool, saw blade, woven yarn, charred wood branch, bamboo stakes, plaster, blown glass, sealed containers of fermenting peppers, red chili pepper powder, sulfur powder, rolling pallet
2019
Rising
Fired ceramic gift bows in colors of changing leaves, shirt
2021
Dewdrop (Dogen)
Blown glass, copper, welded steel, plaster, cement, wood
2020
The work of memory
Color copies mounted of foam board, wood structure
84 x 75 x 15 inches
2025
Century (detail)
Found bricks, glaze, wood, chalcopyrite
2021
Inhabit
Garlic sleeves, copper in three different states
2021
Electronic Garden / Slow Burn
Defunct electronic parts, electrical/audio wire, petrified wood, cassiterite (tin), bauxite (aluminum), sphalerite (zinc), chalcopyrite (copper), wood
17 x 32 inches
2021

Sandra Eula Lee is a multidisciplinary artist who transforms commonplace objects and found materials, disrupting assumptions related to the permanence of a fixed state. Inspired by the surroundings of the various countries that she has resided in, Lee alters materials through chemistry by applying elements such as heat or fermentation to present the idea of perpetually evolving landscapes.

Often using industrial materials in her sculptures, Lee includes bricks, concrete, electrical wire, and other materials of construction. She recombines them with handmade forms in her sculpture and installations, exploring changes made to the built environment. For her first solo exhibition at the Phillips Museum of Art, Lee includes works inspired by her isolation during the Covid-19 pandemic which highlight society's heavy reliance on technology. Working from her studio at home she explored the combination of different electronic materials with the minerals and natural elements we have relied on since ancient times. Her exhibition also includes a new version of her Portable Pond, inspired by the ponds located within East Asian gardens. She conceives of the garden as a space of contemplation, reflecting its surroundings.

Full-Color Publication with Essays by Karen Patterson Former Curator, Fabric Workshop and Museum; Christopher Bennett, Art Historian, Associate Professor at UL Lafayette, Hard Copy Available

Article in ArtDaily