Sharon Lee
Sharon Lee’s practice explores and questions photography as a medium. Inspired by her family life and by the everyday, the Hong Kong artist experiments with various techniques, textures and materials to mould the blurry remains of memory, poetically capturing the slippery layers of time. Her work revolves around the notions of absence and disappearance as tangible and often constructed presences. Caroline Ha Thuc: From the start, you have explored photography in association with various modes of printing, including ceramics. Where does that come from? Sharon Lee: I use photography; meanwhile I do not conform to photography. I embrace alternative image-making as a form of negotiation, not necessarily with a single photograph but with the history, culture, art, science and technology that it carries. I started photography when I found myself with no resources for art making – no studio, no art supplies but a 55-sq-ft shared bedroom. I find the medium a great tool to construct a visual reality. It frames and unframes, hides and reveals simultaneously. I was in Vienna for an academic exchange year …