Lee Eunsil (b. 1983) captures the energy of a fragmented self, torn between repression and conflict, by portraying socially tabooed primal human desires through the traditional form of Korean painting. She believes that individual desires, suppressed by societal consensus, ultimately condense into the unconscious, sometimes festering and emerging in distorted forms. 

The artist expresses these psychological states through three key themes: sexuality, space, and mental fragmentation.

At first glance, Lee Eunsil’s paintings appear to be traditional Korean paintings. The materials she uses, her ink-and-color technique, and her choice of jangji (Korean mulberry paper) all adhere to the formal methods of Korean painting.

However, upon closer examination, it becomes clear that her works conceal subjects and themes entirely different from those typically found in traditional Korean painting. In fact, they openly reveal elements that are considered taboo in traditional art.

In Lee Eunsil’s early ‘Desire’ (2004–2006) series, she boldly exposes explicit depictions of genitalia reminiscent of sexual intercourse, challenging patriarchy, tradition, and conservatism. Her work Attitude (2004), which portrays a man and a woman after intercourse, addresses the power dynamics embedded even in acts of love and pleasure.

In this piece, the man confidently displays his genitals while resting, whereas the woman turns away, seemingly ashamed, with her genitals concealed. The man’s penis is depicted in an erect state, symbolizing a sense of achievement, while in the woman’s scene, red blood—traditionally associated with virginity—pools on the floor.

The stark contrast between the man and woman’s postures explicitly reveals how patriarchal power structures infiltrate even the most primal and intimate human instincts.

Another notable element in Lee Eunsil’s paintings is the structural components of a house, such as door thresholds and window frames. This becomes particularly prominent in her ‘Neutral Space’ (2007–2009) series, where these elements serve as metaphors for social institutions. Depending on the angle, they sometimes function as devices that prompt the viewer into the forbidden act of secretly peering inside. 

Among these works, Take Off (2008) features a central figure peeling off their own skin, as suggested by the title’s meaning. This figure is depicted like a flickering candle flame, precariously swaying in the wind, while a violent gust scatters the architectural elements of the house in all directions. 

Art critic Lee Young-wook describes this piece as "the inner world of an individual in an extreme state of psychological disintegration and the socio-cultural context surrounding that disintegration." In other words, the painting captures the energy of a self unraveling under the weight of societal taboos and repression, expressed through a traditional artistic approach.

Meanwhile, the ‘Peripheral Youth’ (2010–2013) series represents the uncertainty and disorientation of "peripheral youth," obscured by the "thin veil" of social mechanisms. This body of work features ambiguous forms concealed by veils of water, light, and wind, architectural structures that serve as indirect metaphors for the institution of marriage, and depictions of animal genitalia symbolizing youth unable to fully express its vitality. 

Through these works, Lee Eunsil articulates her perspective on "youth that is not truly youthful," shaped by the subtle yet pervasive constraints of societal norms. The series reflects her critical gaze on the world, exposing the invisible forces that suppress youthful energy and direction.

Lee Eunsil, who primarily held solo exhibitions in alternative spaces rather than sleek white-cube galleries, took an unconventional approach in 2013 by hosting her third solo exhibition not even in an alternative space, but in an office of a company located in Sogong-dong, Jung-gu. By subtly intervening in a conservative, rigid, and authoritative setting, she sought to introduce potentially uncomfortable narratives and observe how they might be absorbed or resisted within such an environment.

The works presented in the exhibition depict anxious and ambiguous beings concealed beneath social norms. However, as suggested by their titles—'The Loneliest…’, ‘Hold on Until the End’, ‘Keep Going’, and ‘Blind Following’—these beings seem to navigate the fluid state of an ambiguous world. 

Much like the artist herself, who continuously engages with and challenges conservative societal structures, these figures represent those who, despite their uncertainty and instability, confront the world while maintaining their ambiguous existence.

Lee Eunsil, who has explicitly depicted themes considered taboo in Korean society, such as sexual desire, took this approach to an even more uncanny level in her 2017 work The Moon at Night. While she previously portrayed male and female genitalia directly or used animal imagery as a metaphor, this piece presents a scene in which two ambiguous beings—neither fully human nor entirely animal, covered in long, thin fur—engage in intercourse within what appears to be an indoor space. 

The human-like figures, with their beastly fur-covered forms, seem to embody primal and animalistic human desires, blurring the boundary between human and beast.

Meanwhile, Scene of Desire (2018) depicts a group of tigers—symbols of power and strength—moving dynamically in pursuit of an undefined desire. In this work, the essence of desire is not explicitly revealed; instead, it is suggested through the shimmering golden patterns of the tigers’ fur and the vaguely phallic rock formations on the right, which resemble male and female genitalia. 

These symbolic elements illustrate a landscape of libido—a fundamental energy that encompasses not only sexual desire but also the craving for power. The tigers, captured in dynamic motion, embody an excessive longing for greater strength and the fantasies associated with it.

In her recent works, Lee Eunsil has been closely examining and depicting various mental disorders that arise within the complexities of modern society—stress, anxiety, hwa-byung (anger syndrome), bipolar disorder, lethargy, depression, nervous breakdowns, obsessive-compulsive disorder, and dissociative identity disorder. 

For instance, Unstable Dimension (2021) visualizes the suppressed self, distorted, fragmented, and overlapped in the process of conforming to societal norms. The disintegrated body parts floating in the air serve as metaphors for distorted human figures, suffering, trauma, and rage, reflecting a complex psychological state.

In this work, the artist depicts three-dimensional spaces with varying levels of transparency, floating irregularly and overlapping, each holding different temporalities. These living, dynamic spaces symbolize the fractured self. The distorted architectural structures represent mental disorders like obsession and schizophrenia, while the unfinished architectural forms metaphorically reflect the imperfect nature of our lives.

Through this approach, Lee Eunsil has persistently observed the rigid social structures, capturing the phenomena that emerge within them and presenting them in a very candid manner. Furthermore, in her recent works, she explores and expresses the inner workings of the human psyche, inviting us to reflect on the constant chaos and internal struggles that take place within each of us.

“What always inspires me is the twisted side of society. Everything I feel and think while living in this strange social structure becomes the subject of my work and the focus of my contemplation.” (Lee Eunsil, IFAC News 3.0 Interview, July 18, 2018)

Lee Eunsil graduated from the Department of Oriental Painting at Seoul National University and obtained a master’s degree in Oriental Painting from the same graduate school. She has held solo exhibitions at various art institutions and galleries, such as P21 (2021, Seoul), UARTSPACE (2019, Seoul), DOOSAN Gallery (2016, New York), Project Space Sarubia (2010, Seoul), and Alternative Space Pool (2009, Seoul).

She has also participated in various group exhibitions held at the Ilmin Museum of Art (2022, Seoul), Seoul Museum of Art (2022, Seoul), Coreana Museum of Art (2020, Seoul), SONGEUN (2019, Seoul), and Cité International des Arts (2016, Paris). In 2019, she received the Excellence Award at the 19th SONGEUN Art Awards and participated in 《ARTSPECTRUM 2014》, held at the Leeum Museum of Art in 2014.

Lee also participated in the 2020 SONGEUN Art Studio, the 2018 Incheon Art Platform Residency, and the 2016 Doosan Art Center Residency Program. Her works are part of the collection at the Seoul Museum of Art and MMCA Art Bank.

References

• 이은실, Lee Eunsil (Artist Website)
• 이영욱, 욕망 혹은 일상, 2018
• Radar Seoul, 이은실 인터뷰, 2023.09.08 (Radar Seoul, Lee Eunsil Interview, 2023.09.08)
• 프로젝트 스페이스 사루비아, 애매한 젊음 (Project Space Sarubia, Peripheral Youth)
• 유아트스페이스, PRESS THE BUTTON! (UARTSPACE, PRESS THE BUTTON!) 
• P21, Unstable Dimension