[Interview] Breaking the Egg: How Destiny and "Daydreams" Shape the Abstract World of Na Young Lee

At the end of January, Na Young invited us to her new studio in London. During our interview, she led us on a fascinating journey through her evolution as an artist and the constant development of her visual language. In our fast-paced world, we often find ourselves questioning our true talents and passions. Our conversation with Na Young offered a profound reflection on how we navigate this uncertainty to find meaning and purpose.

In a quiet corner of London, far from the high-pressure atmosphere of Seoul, Na Young is rearranging her world. Having recently moved into her new creative space, she admits to a constant internal tug-of-war between order and chaos.

"I have my own sense of where things should be tidy and where they can be messy," 

she explains, gesturing toward the large-scale canvases that dominate the room.

Lee’s journey to the London art scene was not a straight line, but a series of "destined" pivots that began in a conventional environment. 

On the Damp Ground, A Bonfire, Oil on linen, 116.8 x 91 cm

The ideal Student’s Secret Rebellion

Born and raised in a conservative Korean household, Lee was the quintessential "ideal student." She excelled in every subject she was assigned, despite lacking passion for them. Although she had dreamed of being a painter since kindergarten, her parents steered her toward "stable" careers in law or medicine, viewing art as a "hungry" profession.

"I was an ideal student," Lee recalls. "I didn't know why I was studying, but I felt like I would die if I didn't get a perfect score." This repressed creativity manifested as intense "daydreaming" (gongsang). During 50-minute lectures, a single keyword—like "cells" in biology—would send her spiraling into a private world of imagination, causing her to lose track of the lesson entirely. She would obsessively visualize how a concept was formed. This tendency to "fall into her own thoughts" remains a hallmark of her process today. For Lee, these were not just idle daydreams; they were the starting point of a journey to discover the core and origin of her subjects. While most people accept societal facts at face value, Lee felt compelled to dig deeper and deeper until she reached the absolute essence of her vision. For example, upon closer inspection, the circle emerges as a recurring obsession in her work. For Lee, this round shape is a visual representation of a cell—the fundamental building block of humanity and the world. It is through these forms that she invites us to follow her into the depths of her imagination. 

From Industrial Design to Fine Art 

Lee’s entry into the world of design was a gamble. With no formal art training and only two weeks to prepare, she applied for an Industrial Design major —a compromise between her scientific background and her artistic "blood".

The story of her entrance exam has become legendary among her peers. Surrounded by other candidates armed with professional-grade equipment, she felt her technical drawing skills were lacking. To compensate, she broke away from the rigid, conventional exam format, choosing instead to communicate her ideas through a unique approach—utilizing descriptive text and arrows to explain functionality.

The result was a success; she was accepted.

However, she soon came to a realisation. She yearned to tell her own story, but she discovered that industrial design was a field dedicated to fulfilling the needs of others rather than expressing one's own desires. The commercial constraints eventually began to feel stifling.

Hidden, Oil on fabric, 130 x 76 cm

The London “Calling”

The decision to move to London for her Master’s was an attempt to "break the egg" of her 30-year-old habits. She says,

"I knew the egg existed, and I wondered if it was right to live without seeing the world outside"

London has granted Lee a newfound sense of "freedom," though she admits the initial transition was daunting. Her current work reflects a deep fascination with human reactions and the natural "flow" of life. She remains a dedicated collector of both thoughts and materials—often "hoarding" wooden stretchers like a squirrel gathering acorns, simply to enjoy the peace of mind that comes with being prepared for her next large-scale creation. 

While the works appeared complete once hung on the wall, Lee insisted they were not yet finished. "It’s hard to describe when," she explains, "but there is a specific moment where I simply know to stop and declare a painting done." She seeks to impose no single message or fixed ideology on her audience; instead, the viewer is granted the same freedom she discovered in London—the liberty to explore the work and form a personal connection. She adds that the questions and connections built with an anonymous audience are what transport her into a new world.

Art Bunker B39

Artistic Philosophy: No Regrets

For Lee, art is a different language, one that curators help translate for the world. Her philosophy is one of radical acceptance:

"Even if something goes wrong, I don't regret it. It was meant to happen that way".

In her studio, surrounded by two-meter canvases and the lingering scent of oil paint, Lee continues to fill the "void" left by her years as a model student. Her abstract works are far more than mere paintings; they are the documented echoes of the daydreams she once felt forced to hide. 

By the end of our talk, her abstract and vibrant paintings felt transformed. They were no longer just colors on a canvas; they were vessels for her stories, her "daydreams," and her meticulous thought process, inviting the viewer to step behind the surface and see the world through her eyes.

Resonant Glow, Oil on canvas, 76 x 102 cm

*** Nayoung Lee is an abstract artist currently based in London. Her work explores the intersection of destiny, social structures, and personal narrative.

Written by Dr GeeSun Hahn

4482 SASAPARI Lead Curator

Fourth Chamber Projects Director

University of Leicester, Museum Studies, UK

Photo © 4482 & Na Young Lee