Jasmine Lee 李穎雯(b. 1994, UK) is a British-Born-Chinese, third generation of Chinese diaspora, living and working in Birmingham, UK. She is a researcher, curator, and artist.
The scope of the PhD proposal currently involves interrogating and navigating the levels of codes: linguistic, material, spatial, and psychosocial code-switching; via curating representations of digital art in art academic institutions. It subsequently involves reframing the curatorial strategy to a scientific experimental design, as an alternative working conceptual model to stage exhibitions based on changing variables and keeping the control variable the same to look at viewer perception.
The blog is a documentation of the realities of making art, curating, and holistic research that aims to link to wider debates and discourses seemingly indiscriminately.
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The works presented to the viewer in Lines of incidences address the virtual-digital-physical dilemmas of imagery, and critique the origin of the artworks such as, when do common utilitarian items became elevated to the status of art? The catalogue for the show references Hito Steyerl's essay In Defence of the Poor Image in 2009, where she states the postmodern problem of subsequent computer image-files being weaker; but the files are immortalised in the Lines of incidences publication, and the images are screenshots; presented as such.
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Lee was influenced by late 2000s STEM education (STEM is an acronym in the UK education system for science, technology, engineering, and math disciplines), before she studied fine art at Staffordshire (2017) and Birmingham City University (2021). Lee has shown artworks previously in the Midlands, the Science Centre in Stoke-on-Trent, and exhibited works in London, Rome, Venice, and Chios. Lee currently has a studio in Birmingham, and is a member of Amass Artist Collective, RBSA friends, and EOP at Eastside Projects.
Lee is interested in analysing the human psyche in relation to the media within Western culture from the 1960s and onwards. She values the concepts behind the works more than the material representations.