Hansheng Lee

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The Ongoing Practice of Making

Art has always been my way of making sense of the world—a language I speak when words fall short. What you’ll find here is more than just a gallery; it’s a living archive of personal reflection, ancestral memory, and the beauty I find in both chaos and calm. My work bridges digital and traditional mediums, drawing from Taiwanese heritage, ecological reverence, and the surreal intersections between mythology, dreams, and the human condition. I don’t believe in art that exists purely for aesthetics; every brushstroke, texture, and color is intentional, carrying a story, a scar, or a prayer.

 

You’ll see pieces that span soft temple dreamscapes, political resistance, cosmic wonders, and emotional landscapes. Some series are still growing, while others have lived with me for years. I use what I have, whether it's pigments from the earth or a secondhand tablet—because creation shouldn’t be gated by perfection. You may notice rough edges, recycled materials, or digital works drawn during sleepless nights. That’s part of the truth I choose to show here.

 

This is art shaped by love, grief, fury, and hope. It’s deeply personal, sometimes messy, often tender—but always honest.

 

Thank you for being here and walking through these worlds with me.

 

Lately, I’ve been feeling the itch to start something new — something intimate in scale, but bold in presence. I’ve been playing with a collection of shapes and silhouettes that focus on negative space and fluid form, sketching out potential configurations and ideas in my sketchbook. It’s early yet — the planning stage where things are still raw and open-ended — but the seeds are starting to take root.
 

This new series is shaping up to be a short-form body of work, likely in the 20 x 20 cm range, and I’m leaning into a Chinoiserie-inspired style — combining watercolor, Gansai Tambi, and acrylic, with some experimental layering using alcohol-based techniques. I want to explore both balance and interruption — the way color meets absence, the way a form breathes when left partially unfinished, and how shape alone can carry narrative weight.
 

Some of the early sketches feature dynamic clusters of shape combinations, often not fully enclosed, leaving the eye to fill in the gaps. Others play with motion through minimal contrast, using color fields that pulse with softness or sudden direction.


This is also a gentle reminder to myself: not every piece has to be loud.
Sometimes, the most powerful thing in a composition is what’s not there.
 

I’m still working through the planning phase, but this series already feels like a meditation on space, rhythm, and intention.
As I refine these ideas, I’ll share more — maybe even time-lapse snippets or process photos along the way.
 

If you're curious about the sketches or want to see how this develops, stay tuned.
And if you’ve ever created a series focused on shape or negative space, I’d love to hear how you approached it.


Thanks for being here — and for watching the work grow, one quiet line at a time.

— Hansheng