Print Residency award for high academic achievement in Third Year.

WOMAN, WAR AND BEYOND is based on the Japanese military’s forced sexual enslavement of adolescent females during World War II, known as ‘Comfort Women’. This term refers to the Imperial Japanese government’s creation and supervision of a system of sexual enslavement between 1932 and 1945. This project includes pieces with titles including Woman, War, and Beyond, The Healing Journey of ‘Comfort Women’ and Death is not there, which inspire reflection on the cruelty of war and the persistent impact of trauma and violence on women and communities. These prints depict the past by using real-life images of ‘Comfort Women’ to recreate the experience of death and war trauma through the use of colour, form and text as symbolic imagery that represent violence and trauma.

My practice as an artist is dedicated to printmaking and embraces contemporary types of print media as an effective technique of self-expression. I’m interested in experimenting with not only conventional printmaking processes like etching and screen printing, but also digital prints that use modern technology. My method entails digital alteration and appropriation of pictures related to the issue. I often work with the concept of the visible and invisible and use various printmaking techniques to create visual representations of specific historical events.

working space
Meeyoung Lee, Working in the print studio, 2023. Photo: Ingrid Mascoll
Woman, War and Beyond
Meeyoung Lee, ‘Woman, War and Beyond’, 2023, etching and sugar-lift aquatint on paper
The Healing Journey of 'Comfort Women'
Meeyoung Lee, ‘The Healing Journey of ‘Comfort Women”, 2023, inkjet digital and screen print on paper
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Meeyoung Lee