I enjoyed thinking back to the history of the distant earth and created my own history through the presence of nature that I felt while watching the distant scenery of a big city, the sublime nature, and the naked scenery of Shandong Province I saw as a child.

As the fast-changing world has become a situation where it is difficult to distinguish between the overflow of images and what is real and fake, I became more and more interested in abstracting the pictorial images that I can do. I focused on expressing the invisible order that started from the shape.

I was strongly influenced by Joan Mitchell's paintings, and I also studied the romantic atmosphere of Impressionist paintings and the use of oil paintings. I think the characteristic of my painting is brushwork. I believe that the brushstrokes inheriting the spirit of oriental painting have a deep connection with the movement of the body in painting. It creates color and rhythm right on the screen.

Stravinsky's spontaneous and intense touch gave me more confidence in building my world. Music is very helpful in arousing certain strong emotions in my paintings, and besides that, I want to remind people of the world I am thinking about by actively utilizing the human body and its movements on the screen. I want my paintings to give people strong confidence. I want to contribute to the most ideal direction for us to live on this earth and maintain our role while receiving the influence of the sun, moon and other planets.

Haeeun Lee won the Abstract/Non-representational Category Award in the Jackson’s Painting Prize this year with her work Chopin – Nocturne Op. 27 No. 2. In this interview, Rhiannon Inman Simpson, who won the award the previous year, asks Haeeun about her studio practice, setting the scene for a painting, and how she knows when a painting is done.