Lee Bethel is an artist working with paper interested in the materiality of paper and how it can be cut, pricked, folded or arranged to create an array of forms, shadows and complex patterns. Her works often explore the relationship between object, place and memory.
For Lee Bethel, elegant constraints are the foundation of her workings, manipulating the fold and the grid. In her hands, the paper fold reveals its capacity for resilience and malleability. It is both a tangible folding of paper and a metaphorical folding of time and memory.
The repetition that Bethel employs is a contemplation on process work and time. The emergence of the grid in her early work was an act of memorium, linking with the handkerchiefs her mother would fold and prepare for her father. It has since become a formal classification system, its framework used to highlight repetitive and subtle differences in nature. The grid presentation allows for intricate readings of natural forms. And if we expand the concept of the grid to a broader scale, it is also used to bring an ordering system to the landscape.
-Melody Willis
Lee Bethel holds a Masters of Fine Art, Honours in Fine Art and a Bachelor in Visual Communications from Sydney University, Sydney College of the Arts. She has shown in many group and solo exhibitions including the Sulman Prize at the Art gallery of NSW, the Rick Amor Drawing Prize, Ballarat Victoria, the South Australian Museum Natural History Art Prize, the Gallipoli Art Prize, Sydney, the Hazelhurst Works on Paper , Sydney, ‘ Beyond Books – a revolution’ at the East Gippsland Regional Gallery, ’Hidden’ Rookwood Cemetery Sculpture Walk, Sydney, Banyule Art on Paper, Victoria, Burnie Regional Gallery, ‘New Paper Old Land’, Tasmania and the James Kiwi Prize Wollongong Regional Gallery.
Lee was awarded a UNESCO Laureate to work in France, subsequently holding a solo show at Atelier Fourwinds. She has had a residency at Arthur Boyd’s Bundanon and two residencies at Hill End through the Bathurst Regional Gallery, as well as Fremantle Arts Centre, Western Australia and Footscray, Melbourne, Victoria.
Her subjects are carefully selected and show a precise intersection, where materiality meets imagining.
Works available from The Egg and Dart Gallery www.egganddart.com.au
For Lee Bethel, elegant constraints are the foundation of her workings, manipulating the fold and the grid. In her hands, the paper fold reveals its capacity for resilience and malleability. It is both a tangible folding of paper and a metaphorical folding of time and memory.
The repetition that Bethel employs is a contemplation on process work and time. The emergence of the grid in her early work was an act of memorium, linking with the handkerchiefs her mother would fold and prepare for her father. It has since become a formal classification system, its framework used to highlight repetitive and subtle differences in nature. The grid presentation allows for intricate readings of natural forms. And if we expand the concept of the grid to a broader scale, it is also used to bring an ordering system to the landscape.
-Melody Willis
Lee Bethel holds a Masters of Fine Art, Honours in Fine Art and a Bachelor in Visual Communications from Sydney University, Sydney College of the Arts. She has shown in many group and solo exhibitions including the Sulman Prize at the Art gallery of NSW, the Rick Amor Drawing Prize, Ballarat Victoria, the South Australian Museum Natural History Art Prize, the Gallipoli Art Prize, Sydney, the Hazelhurst Works on Paper , Sydney, ‘ Beyond Books – a revolution’ at the East Gippsland Regional Gallery, ’Hidden’ Rookwood Cemetery Sculpture Walk, Sydney, Banyule Art on Paper, Victoria, Burnie Regional Gallery, ‘New Paper Old Land’, Tasmania and the James Kiwi Prize Wollongong Regional Gallery.
Lee was awarded a UNESCO Laureate to work in France, subsequently holding a solo show at Atelier Fourwinds. She has had a residency at Arthur Boyd’s Bundanon and two residencies at Hill End through the Bathurst Regional Gallery, as well as Fremantle Arts Centre, Western Australia and Footscray, Melbourne, Victoria.
Her subjects are carefully selected and show a precise intersection, where materiality meets imagining.
Works available from The Egg and Dart Gallery www.egganddart.com.au
Detail Counting the Dead Encaustic on hand cut paper Available from www.egganddartgallery.com.au