Lee Yoonjean’s photography, remarkable for its solid spatial composition and precise description of detail, finds its subject in everyday settings and things. Lee’s art stars from unmediated documentary. Using the simultaneous recomposition of subject matter and direction through delicate lighting, it looks at the other sides of the everyday that are perceived by the naked eye or captured by the camera’s eye. The concept of the ‘everyday’ in Lee’s photography is refracted through the artist’s identity and her view on realty, both of which are hybridized in an obscure repetition of blurred boundaries and ideas that we’ve seen before in postmodern art. The documentary objectivity and aspects of composed photography seen in Lee’s Hinterhof and Still Life series can be viewed as formal frames the artist acquired in the process of understanding and digesting contemporary German photography. A routine rhetoric for the Lee, is that she is the first and only oriental student of Bernd & Hilla Becher. Forming with its American counterpart the two main axes of contemporary photography, German photography emerged since the mid-1990s as the center of the medium in contemporary art. Around the time of his ascendancy, Lee studied photography at the Kunstakademie Dusseldorf. Bernd & Hilla Bechers reinterpreted the genre in a contemporary perspective and led the development of photography in Germany since the 1970s. In the rigorous pedagogy of the Kunstakademie Dusseldorf based upon the Becher’s typological methodology, Lee studied methods of meticulous observation and detail expression. Afterwards, studying under Jeff Wall and Thomas Ruff, Lee was able to encounter even more diverse approaches in contemporary photography. She has had important solo show at doART gallery in Korea(2003), and group shows at GALLERY HYUNDAI in Seoul(2009), at ZKM1 Museum in Germany(2007) and at the Seoul Museum of art in Seoul(2007). She also participated in renowned Biennale, such as Art Basel(2006, 2005, 2004), and Busan Biennale(2004).