Lee first piles up the canvas with multiple layers of thin paints, followed by sandpapering the surface so that any sense of substance on the canvas is removed. The artist pursues the incompatibility which occurs when water-based and oil-based paints are mixed together. It seems fluid but it is still, and it feels slithery as much as it looks coarse. It is deep but also shallow, and it appears ephemeral yet it may be permanent. The surface seems to display all kinds of duality, but there is still more to discover. Some of her paintings shed light on the face of some strangers, enclosed in dark and hollow frames. The spectator cannot help but meet the eyes of the stranger, who wears a little odd and faint expression. Inside the frame is restrained and silent, and the stranger presents no clue. The curious figure comes from Lee’s acquaintance, but when the individual is transferred onto the canvas, she is no more than a subject matter. Looking at a captured moment of the void figure, the spectator might come up with some speculations and questions, which cannot be answered. This suggests that the captured screen may be a type of conventional social media. The unresponsive figure that has been extracted from an individual acquires its own identity at some point, and the next moment, it becomes nobody. Some other paintings feature cakes. The cake is deprived of its materiality just by placing it inside a frame. The softness of cream is transformed into firmness, and everything that is on the cylindrical body of cake is arranged for the best appearance. Furthermore, when the lighted candles illuminate their own forms as well as the cake, the screen is divided into areas of light and dark, and a new component other than the forms emerges. What comes from the illumination is not limited to forms, but float all across the canvas. Flooding the screen with all kinds of materiality and pictorial forms, the ‘pictorial cake’ becomes a completely sculptural possession which has lost all of its meaning. Lee’s work presents the irony of examining a futile moment, and the irony of consuming a meaningless object. Lee collects and then reconstructs those that are indefinable and ambiguous, just like her own properties. Perhaps, she is suggesting not to seek for meanings of everything in vain.