Born Brisbane, Australia 1954
During the 1980s, Lindy Lee worked with the form and idea of reproduction through a most democratic means – the photocopy machine – to explore its dualities, including the notion of original versus copy. Photocopies of old European master portraits became the basis of her highly metaphorical and personal creations. As a Chinese-Australian, she was particularly interested in the notion of authenticity, and explored her own experience of feeling displaced between cultures.
By the early 1990s Lee’s work shifted towards painting and the painterly mark. Black oils and wax allowed Lee to scrape back the canvas or produce texture. The ‘Black Paintings’ by Ad Reinhardt from his 1960–66 series formed an important source of inspiration for Lee at this time.
Lee, who studied at the Chelsea School of Art, London (1979–80), the Sydney College of the Arts (1981–84), and the College of Fine Arts, Sydney (2001), has been exhibited internationally. In Australia she has been included in Australian Perspecta 85, Art Gallery of New South Wales (1985); Biennale of Sydney, Art Gallery of New South Wales (1985); Above and beyond: Austral/Asian Interactions, Australian Centre for Contemporary Art (1996); Spirit + Place, Museum of Contemporary Art, Sydney (1997); and Three views of emptiness: Buddhism and the art of Tim Johnson, Lindy Lee and Peter Tyndall, Monash University Museum of Art (2001).
Lee’s work is represented in the collections of the National Gallery of Australia, most state and several regional galleries, Museum of Contemporary Art, Sydney, Ian Potter Museum of Art, University of Melbourne, and Griffith University.