[Interview] Soo Hyun Lee | Expressing Invisible Forces Through Performance

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May 3
4 min read

Updated: May 7

On a sunlit day, we visited the studio of Soo Hyun Lee in Bethnal Green, London. The space, a converted council building, exudes a spacious and comfortable atmosphere, with performance objects placed on one side and unfinished paintings hanging on the wall.

Soo Hyun’s work deeply delves into how social values and beliefs shape the world we live in and how individuals engage with or resist these forces. She explores abstract and profound concepts such as eternity, hope, shame, love, and care, questioning how these values resonate across both personal and collective experiences. Through performance, she unravels the complexities of language and boundaries, making visible the invisible currents that shape human relationships.

Core Concepts: Boundaries, Care, Language

Soo Hyun Lee focuses on the concepts of ‘boundaries’ and ‘care,’ exploring the complexities of social values and human connections. She investigates how these ideas not only govern societal structures but also deeply affect interpersonal relationships. She examines how abstract ideas—eternity, hope, love, shame—resonate through both individual and collective experiences.

"I often have a sentence pop into my mind, and I sketch it out. Then I decide whether to express it through painting or performance. I usually choose the more direct way to communicate it. Even after completing a piece, I find that the first phrase that came to mind remains the best. That’s how the title comes to life,"

For her, the title is a critical element of the artwork, posing the essential question and making it clear to the audience what is being asked.

Care Language Performance, Performance, 2024

Social Perspective in Her Work

From a sociological perspective, Soo Hyun Lee’s focus is more on societal issues. "I’m concerned with how to highlight the marginalised in a world that often disregards them, while considering the accessibility of my work" she says. Her works express the frustrations and limitations she faces as an Asian woman. The series "My soft hands became a sword one day" stems from the anger she feels at her body being defined as ‘soft’ and the societal restrictions placed upon it.

“The most frustrating thing isn’t catcalling or racism; it’s invisible suppression. It’s the way my body is shaped by others' expectations. That feeling was deeply unsettling,” she recalls. Through this series, Soo Hyun reclaims agency, transforming vulnerability into strength, and challenging reductive narratives imposed upon her identity..

Conveying Emotions and Messages Through Performance

For Soo Hyun, performance is more than just an artistic expression—it’s a way to connect directly with the audience. "I think about how to generate emotional flow through performance and how to communicate that to the audience effectively," she shares. A work's title is crucial for closing the distance between the performer and the audience, encapsulating the essence of the message.

10 Questions to be asked, performance, 200kg salt, 200 x 200cm duvet, 30 x 60cm towel, 2022

Soo Hyun Lee's first performance, "10 Questions to be asked," explores the complexities of language and emotion. She posed ten questions in Korean to a performer who didn’t understand Korean, examining how emotions could transcend language barriers.

"Because language didn’t connect, I kept receiving unexpected answers. It was around the time of the Itaewon disaster that citizens seeking safety and families grieving couldn’t receive responses to their questions. The language barrier becomes a powerful metaphor, symbolising the deep frustration and injustice felt when urgent, heartfelt questions, especially those aimed at those responsible for breaking an eternal promise, go unanswered. I wondered if, despite the language barrier, genuine emotions could still be understood and felt,” she reflects. This performance highlighted how, even without shared language, sincerity can transcend and reach the heart.

I have seen this coming, oil, pencil, and Japanese pigment on canvas, 182 x 720cm, 2024

In "I have seen this coming," Soo Hyun gave performers fragile materials like powder, water, and oil to experiment with creating protective barriers. "To make a protective barrier with delicate substances seems impossible, but the performers find a way. The key is not in success or failure, but in how their efforts create new landscapes. These traces become part of a historical legacy that helps us lead better lives," she explains.

I have seen this coming, performance, 975kg handmade powder, pond and oil, 2024

"It’s not about success or failure, but about the traces they leave behind that could become part of our societal heritage."

This performance featured diverse performers—people of all genders and ages—who emphasised the importance of their efforts and traces.

Looking ahead, Soo Hyun plans to experiment with more media and formats, particularly interactive works that engage audiences in real-time. She also aims to address social and environmental issues in her future projects. Most recently, she presented her work in the group exhibition Malerei at Akku Kunstplattform in Lucerne, Switzerland, and in Daphne’s Daughters at MEY Gallery in Los Angeles, USA.

Reflecting on the interview, I found myself resonating deeply with Soo Hyun’s work. Living in London as an Asian woman, navigating a multicultural society, and working within the cultural sector have made me acutely aware of the subtle forms of unconscious racism and casual impoliteness that persist in daily life. Hearing about the challenges she faces as an Asian woman—and how she transforms these experiences into powerful performances and paintings—prompted me to reflect on the role of art as both a mirror and a catalyst for social change. Her work serves as a powerful reminder that art can give voice to marginalised experiences, foster empathy, and ignite meaningful conversations about the world we live in.

https://soohyunlee.art

@todayisoohyun