A gentle connection to beings in wood
- Soobin allows wood's grain and resistance to guide her creation
- Her figures carry inspirational weight in their meaning
- She is interested in experimenting with different materials and crafts
Soobin Lee's wood practice is grounded in skilled handwork and close attention to material. She frequently works with animal-inspired forms, using familiar creatures as a way to soften the boundary between object and presence. "My animals suggest gestures, weight and character, rather than holding literal representation," Soobin says. She carves these wooden figures slowly, through repetition and technical precision, which allows the grain and resistance of the material to guide each of her decisions. Positioned between craft and object-making. Soobin's work values durability, balance and tactile clarity. It reflects an intimate understanding of wood and form developed through continuous making,
INTERVIEW
I did not study art formally, I began my career as an editor in publishing. Yet, I was always drawn to making things by hand. Through short workshops and a year-long woodworking programme, I slowly realised that shaping material could become my lifelong practice.
I begin by selecting materials, often wood or stone, and shaping them through cutting and carving. With driftwood, the process starts by collecting it from the shore. Sometimes the material itself suggests a form, as if I am translating a story the wood already holds.
Because wood was once alive, I often depict animals and human figures. My work reflects care, connection and respect for all living beings. If my sculptures can offer quiet comfort and gentleness to others, I have achieved my goal.
While wood remains central to my work, I want to move more freely across materials. This year I experimented with clay, relief carving and mineral pigments used in East Asian painting. I am interested in what emerges when wood alone is no longer enough.
