South Korean artist Doowon Lee brings a unique vision to contemporary art, deeply rooted in his heritage yet strikingly modern and boundary-defying. Growing up surrounded by nature, he developed an instinctual connection to organic forms and motifs, which today permeates his work with themes of identity, humour, and cultural hybridity. His intuitive, spontaneous process—working without sketches—allows each piece to emerge with fluidity, capturing the raw energy of his inner world. In conversation with CNTRFLD.ART, Lee reflects on his early inspirations and his approach to blending folk motifs and found objects, creating works that honour tradition while pushing boundaries. His art, influenced by his experiences working across South Korea, Pakistan, and most recently, the UK, incorporates playful reimaginings of animals, distorted forms, and cultural symbols that evoke the "law of the jungle." Notable exhibitions like *Three Taste Artwork* at London’s Saatchi Gallery (2023) have cemented his reputation as an artist whose blend of nature and civilization invites viewers to reconsider familiar themes. Lee’s journey reflects his belief in authenticity and curiosity as core values for artists, especially those on unconventional paths, making his work both a personal exploration and an invitation to others to find meaning in life’s spontaneity.

CNTRFLD. Your heritage and upbringing: How did growing up in South Korea influence your artistic development? Were there particular moments or experiences from your childhood that shaped your creative direction?

DL. Growing up in South Korea had a profound influence on my artistic development. I was always surrounded by nature, and it became an integral part of how I perceive the world. There were many moments during my childhood when I would wander through forests and mountains, where the peace and raw beauty of nature deeply moved me. These early experiences instilled in me a desire to explore organic forms and natural motifs in my work, and they continue to shape the themes of my art.

CNTRFLD. Artistic process: Your work is known for being intuitive and free from sketches or preliminary drawings. Can you describe how this instinctual approach influences the outcome of your pieces?

DL. My work is very intuitive, and I rarely plan out a piece beforehand with sketches or detailed drawings. I find that approaching the canvas without a set structure allows me to be more open to the energy and emotions of the moment. This instinctual method means that my work often takes unexpected turns, and I embrace that spontaneity. The freedom to follow where my mind and hand take me gives my pieces a sense of fluidity and life that I think would be lost if I tried to control it too much.

CNTRFLD. Themes of identity and nature: Your paintings often explore themes of nature and identity. How do these themes connect to your personal experiences, and what message do you hope to convey through this exploration?

DL. Nature and identity are deeply intertwined in my work. For me, nature is a mirror that reflects human experiences—our growth, struggles, and connections to the world. My own sense of identity has evolved alongside my understanding of the natural world. By exploring these themes, I hope to encourage viewers to reflect on their relationship with nature and how it shapes their sense of self. I also want to convey that nature, like identity, is not static but constantly changing and adapting.

CNTRFLD. Incorporating folk motifs and found materials: You use a variety of materials, including textiles and found objects, in your work. Can you share how you decide on these elements and what they add to the stories you are telling in your paintings?

DL. I’m drawn to using materials like textiles and found objects because they carry their own stories and histories. When I work with these elements, I feel like I’m building on top of layers of meaning, connecting the past with the present. The choice to incorporate folk motifs comes from a desire to honour my cultural roots while also creating something new and contemporary. These materials and motifs add depth to my work, creating a dialogue between tradition and modernity.

CNTRFLD.  Being Asian in contemporary art: As an Asian artist working on a global stage, how has your identity shaped your experience in the contemporary art world? Have you faced any challenges or found certain opportunities as a result?

DL. My identity as an Asian artist has certainly shaped my experience in the contemporary art world. On one hand, there are challenges, such as confronting stereotypes or expectations about what “Asian art” should look like. But I’ve also found that my unique perspective allows me to stand out in a global context. I believe that being true to my voice and my heritage has opened up opportunities for me to contribute to a more diverse and inclusive art world.

CNTRFLD. First solo show in the UK: Congratulations on your first major solo exhibition in the UK! What was the experience of setting up your show like, and how did it differ from your exhibitions in South Korea or elsewhere?

DL. My first major solo exhibition in the UK took place in 2023, and it was an exhilarating experience. The energy in London’s art scene felt different from what I had encountered in South Korea. It was more experimental and open to new ideas. Setting up the show required adapting to different cultural expectations, but that challenge was part of the excitement. In South Korea, there’s often a greater focus on tradition, while in the UK, I felt more freedom to push boundaries and try new approaches.

CNTRFLD. Working in Pakistan: You’ve spent time working in Pakistan for this show. How did this experience impact your latest body of work, and were there any cultural or material influences that stood out to you?

DL. I’ve been working in Pakistan for 12 years now, and over that time, the textures and patterns of the textiles I’ve encountered there, along with the rich cultural heritage, have deeply influenced my work. Through long-standing collaborations with local artisans, I’ve explored various materials and techniques, and the vibrant colours and craftsmanship of Pakistan have naturally become a part of my practice. My work in Pakistan has been a crucial part of my artistic journey, and the experiences and materials I’ve gained there have added a unique depth to my pieces.

CNTRFLD. The role of intuition and spontaneity: You’ve described your artistic process as gathering energy and images that flow through you like a movie. Can you talk more about how this spontaneous, almost meditative approach shapes your pieces?

DL. My process is very much like watching a movie unfold in my mind. I gather energy, images, and emotions, and they flow through me naturally as I work. This approach is almost meditative. I allow myself to be in the moment, responding to the canvas without overthinking it. The result is often something that feels raw and alive, as though it has its own spirit. I think that’s what makes my work feel so personal—it’s an extension of my internal landscape at the time of creation.

CNTRFLD. Forthcoming projects: What projects or exhibitions are you working on next? Are there any new themes, materials, or collaborations you’re excited to explore soon?

DL. I’m currently preparing for several exciting projects, including a solo exhibition in New York next year, where I’ll be exploring new themes related to cultural identity and craftsmanship, especially after my recent collaborations with Mexican artisans. I’m also experimenting with different materials, such as working more with found objects and incorporating them into my paintings. There are a few collaborations with other artists in the pipeline as well, so I’m looking forward to seeing where that takes me.

CNTRFLD. Advice for aspiring artists: As a self-taught artist who has achieved international recognition, what advice would you give to others pursuing a career in the arts, particularly those who may not have followed a traditional path?

DL. My advice to aspiring artists, especially those who haven’t followed a traditional path, is to trust your instincts and stay true to your vision. It’s easy to get caught up in what you think the art world wants, but the most powerful work comes from a place of authenticity. Don’t be afraid to experiment and fail, because that’s how you grow as an artist. And most importantly, never stop being curious— Curiosity is what will keep your work fresh and meaningful.

About.

Doowon Lee, a South Korean artist, draws deeply from his heritage, blending traditional Eastern motifs with a modern, boundary-pushing approach that connects civilization and nature in vibrant and unexpected ways. His work reflects a playful yet profound engagement with cultural hybridity, where humour, satire, and wild reinterpretations of animals challenge viewers to rethink familiar themes. Through exaggerated, surreal depictions—such as a bird hunting insects or a frog alongside a pianist—Lee injects wit into his exploration of the "law of the jungle." Notable exhibitions include *Three Taste Artwork* at Saatchi Gallery in London (2023), *Doowon; Forty, the Age of Temptation* at Gallery MAC in Busan (2022), and *Flower Garden in Birds, Birds in Flower Garden* (2020). Across Korean galleries and internationally, his exhibitions have cemented his reputation for balancing wit and insight, capturing the spirit of nature and cultural fusion. His frequent use of distorted shapes, cultural symbols, and objects brings a fresh, dynamic perspective, making his art a delightful revolt against conventional ethics and aesthetics. Combining East and West, civilization and wilderness, Lee’s work embodies a lively lightness and warmth that invites viewers to experience art as both a joy and a challenge to societal norms.

CREDITS:

Illustration of Doowon Lee by Maria Chen

All Artwork © Doowon Lee