48 Framed Images
2026
Giclée prints
7.5 × 1.12m
Forty-eight identical photographs hang in a rigid grid. Each shows the same headless, digitally altered figure against a chroma-key blue ground, one arm raised toward the edge of the frame. The hand appears to be doing something, but the image withholds enough information to say what.
Only the titles differ. The same photograph might be called Drawing, Composing, Deleting, Approving or Remembering. Nothing in the image changes. What changes is the frame placed around it, and how quickly that frame turns a picture into a claim.
Chroma-key blue marks the figure as provisional, a surface built to receive replacement content. The missing head prevents the body from settling into biography. What remains is a body prepared to be assigned a function rather than an identity, a condition Lee finds newly urgent in an image economy shaped by automated generation, where coherence is manufactured rather than verified.
The work does not argue that all readings are equally valid, only that certainty arrives too early. Repetition does not make the image more truthful. It exposes the machinery that decides, on each viewing, what a picture is allowed to mean.