Comprehending the contradictory and complementary spatial relationship between black and white, Lee Bae's organic and simple paintings appear structurally dynamic and uninhibited as captures the intrinsic quality of art and removes distractions in formal composition and theme.

Bluntly addressed in the reduction of geometric precision and color, Lee 'uses ink as sparingly as possible, like god' to rehearse the stem of Minimalism- the appreciation of Zen theory on enlightenment. Spontaneity of his forms echoes the Buddhist nature of 'see into your own mind', transmitting his intuitive spirit on the exterior of the canvas. An essence of transcendence is apparent in the visual purity of these cool, opaque brush marks of nature; whether it is mimicking crisp but sinuous contours of a bamboo, plant, rocks, flower or perhaps simply as an intuitive reflex of his mind, Lee neutralizes our questioning eye by assuring us that we, as an audience is expected to roam freely and imaginatively within the expansive possibilities of abstract art. Emotionally charged, the sharp black contrast against the white vacuity of the canvas, emits intense energy where Lee's momentary spurt of passion can be felt, and is heightened by the swift curvature of varying drips found around the edges of the silhouettes. Order and harmony is exhibited in tasteful simplicity in his attentive diligence in the application of a coating his own hand-made translucent and creamy acrylic over the charcoal-black ink. Lee helps us to meditate and to nurture morality, dignity, discipline and serenity in his fluid composition in which he creates a nuanced impression of an organism being formed, figuratively resembling the notion of Zen philosophy, where nature cannot be controlled by man.