Born in Hong Kong and raised artistically in the United States, Leelee Chan has developed a highly articolare sculptural language, sophisticated and poetic. A fundamental element of her art is the search for objects, discarded material found on the street, behind stores, in auto shops and industrial areas. Her works are born from the discovery of spontaneous debris within the urban landscape, a testimony to consumerism. A forest of objects trouvés of little economic value or relative importance - with these elements alone, Leelee creates complex and refined sculptures. They are deposits of memories, not figurative works but extremely concrete in displaying a surprisingly natural disposition of the objects themselves, set up according to their intrinsic meaning, oftentimes expressing intense contrasts. Such as in the work Protector (2018), where elements of differing materials - part of car’s windshield, shells, egg-crates, glass resin, cement and mother-of-pearl - are all assembled to create the interior of a “toy car”. There are all the ingredients which share a protective function, gathered together in a specific form, which, ironically, reveals their extreme fragility.
At the Yuz Museum, the artist stages a dialogue with her father to talk of the generation gap. A tale which is both personal and social.