About

Mindy is an artist living and working in South London.

She is the curator of the Blyth Gallery at Imperial College, London

Text

Small repairs

Catalogue text by Rebecca Geldard to accompany group exhibition Bodies Undone

Blyth Gallery, London 2018

Letters to the artist from Michael Szpakowski

Catalogue text to accompany solo exhibition Mindy Lee & J.A.L.-B.

Perimeter Space, London 2018

 

Repeat Prescription drawings

Introduction to drawings shown in Something Borrowed at Arthouse1, London 2017

 

 

Previous paintings and collages merge attraction and repulsion into enticingly monstrous hybrids.

These work slip between decay and revival, where disgust and seduction intertwine through a revelling in squeamishness. Freshly served or exquisite leftovers, elements of the bodily, the abject and the grotesque beautifully fester.

“While alluding to classic landscapes or portraits, the works appear to have been invaded by body parts – in one a large eye is central, another features a kind of intestinal tract. The physicality of the works is compelling, despite invoking a shiver of disgust.” Eliza Williams [1]

“Although Lee’s painting offers many pleasures in its manufacture and materiality, there is no denying the scatological impulse at work. The grandeur of the canvases’ ethereal or cavernous spaces give way to the more immediate sense of the frenzied yet obsessively particular application, of paint as shit, snot, blood – ectoplasm, even. The living organism has gone rancid or become dismembered; sutured, suppurating, there is something sickly about its growth. From a healthy distance we can take pleasure in its state of decay; if it is contained we can enjoy its material waywardness. Yet the larger these works become the greater the sense that the medium will escape its confines and might contaminate us, creating an exciting atmosphere of danger.” Rebecca Fortnum [2]

“In each painting, there’s a rectangular core from which a swarm of energy and colour explodes across the canvas, riding the edge between seduction and disgust. Just as we watch horror movies to relish our sofa safety from the slash and gore, Lee’s exquisite layers, rings and ridges of what look like snot, smoke and gunk, emit such an infectious force that we can only admire the adrenalin that spills out over the borders of the frames themselves. The spoors of colour maintain an ugly coherence, as if the party balloons have long burst but the fun goes on.” Cherry Smyth [3]

[1] Eliza Williams is currently senior writer at Creative Review magazine in London, and also regularly contributes to magazines including Frieze, Art Monthly, and Flash Art.
Quoted from ‘Double Trouble’ Press release, Blyth Gallery 2010

[2] Rebecca Fortnum is a Reader in Fine Art at University of the Arts London and author of Contemporary British Women Artists, in their own words.
Quoted from ‘The Pleasure’s All Mine’ Press Release, Transition Gallery 2009

[3] Cherry Smyth is an Art Critic, writing regularly for Art Monthly, Modern Painters, Circa and Art Review. Quoted from ‘Slipping Out’ Press Release, Blyth Gallery 2008