YUNA LEE INFO
Oil on canvas
30 x 24 inches
2026
For this first piece, I wanted to capture what occupies me often: anxiety, chaos, and chasing time itself. My self portrait depicts a calm composure, but below I portrayed a tumultuous scene to contrast the two sides. I also chose to include my pet rabbit Peanut, which became an underlying motif that I included to take the viewer on this psychological journey with me. The flipping bunny serves as a representation of the pit feeling in my stomach and the sources of my innermost feelings. In this way, the painting marks the beginning of searching through the walls of my inner self and the start of falling into the rabbit hole.
Charcoal on paper
30 x 22 inches
2026
Phase Shift shows the conceptual idea of time and how we observe it. What I’ve taken away from this making of this piece is that nothing is ever constant. In fact, the present and past simultaneously defines who you are. Using black and white charcoal, I layered one on top of the other to give the blurry, elusive effect on the grid lines and the abstract shapes. I deliberately drew motion lines and a scale of numbers intersecting at ghostly figures of myself to track movement not only through physical space but also as different phases of being.
Oil on canvas
30 x 24 inches
2025
I began with a loose framework of geometric shapes and repetitive forms with light colors to create a dreamy, nostalgic world. Growing up, I’ve always been fascinated with the concept of memories and how they constitute the human experience. Additionally, I painted my past selves, each one fading into the horizon. The recurring theme of the rabbit appears here as well. I intended to make the rabbit break free out of a prism to further bridge the gap between illogic and memory. At the forefront, I wanted myself to spring into action and make a breakthrough from the past into the present.
Oil on canvas, illustration board, fabric, acrylic
22 x 26 inches
2025
I Took the Express Train of Thought explores the complexity of human cognition. Working with illustration boards and fabric, I layered the pieces together to make the illusion of going beyond the skin. On the actual canvas, I used oil paint to create abstract shapes that work hand in hand with a silhouette, skies, and a train. Ultimately, I aimed to capture the acceleration of my mind into one fleeting moment.
Illustration board, graphite, acrylic, clay, paper
23 x 23 x 12.5 inches
2026
With Memory Scaffolding, I intended to create a physical framework built off of my interests, everyday life, and childhood memories. In the back, paper cutout figures ascend through the trees and into a study space, which is taken from my favorite part of the day: walking to the library. As an aviation lover, I also sculpted a plane onto a motor to further depict those wandering daydreams I have. On the front, a projection of my childhood plays onto my head, representing the flickering recalls of my past.
Pastel pencil on paper
22 x 30 inches
2024
This piece represents how each decision and idea that I make tangible goes beyond the simple act of drawing. I tried to depict the excitement and wild imagination that I get when doing what I love the most: art. Additionally, the rabbits jumping out of the paper complement the fun personality behind this piece.
Watercolor, pastel pencil, clay, acrylic
32.5 x 22 inches
2025
32.5 x 22 inches
2025
Using watercolor and pastel pencils, I tried to capture the soft, warm feeling of acceptance. I’ve always looked at the past to figure out the present, but Rabbit, Run focuses on the near future. I also sculpted a border configured in organic shapes. These walls act as a transition rather than a barrier, with hues of green, orange, and yellow blending into the cooler blues and purples.
Charcoal on paper
22 x 30 inches
2026
22 x 30 inches
2026
I wanted to connect my series with something more personal. I struggled with finding an object that resonated with me on a deeper level, but I quickly realized that my personal possession isn’t an item, but a space: my room. The process of switching to another perspective is also what inspired my decision to draw sight lines and geometric shapes on a slanted angle. Behind my face, I drew intersecting grid lines and tree branches to imitate the constantly changing opinions that I have in everyday life. my As a whole, this piece is my attempt to summarize who I am through two viewpoints: the physical space around me and the internal one.
Oil on canvas
30 x 24 inches
2026
30 x 24 inches
2026
Labyrinth is an oil painting where I explore the crossroads of my two passions: art and stem. To me, I see the artistry in my scientific work, and the mechanizations in my paintings. They never contradict; they coalesce. Like how art defines the real world, science defines the underlying one. Through my self portraits, I wanted to show that I am not one or the other, but an intricate mix of both worlds. I also painted elements of the untamed physical world; skies, mountains, and wild flowers merged with technical, rigid lines. This unobserved connection compelled me to question how we try to measure, survive, and find our way through the maze of our own psychology.
Pen on paper
2026
2026
This is an observational sketch that I drew at my local cafe. I specifically wanted to show a glimpse of my everyday life, which consists of cafe hopping over the weekends.
Graphite on paper
2026
2026
In this piece, I cut out pieces of an illustration board to create a composition, and I included some of my most personal items into this still life drawing: my shoes, bag, headphones, and phone.
Charcoal on newsprint
2026
2026
This is a 15 minute gesture drawing of my brother on his phone.
Pastel on newsprint
2026
2026
Using pastel, I tried a more challenging pose of my friend. This drawing took me 20 minutes.
Multimedia
N/A
2026
N/A
2026
This is a collection of my sketches, conceptual drawings, and planning over the past two years. It shows the thinking process behind my pieces as well as the evolution of my art style.