The German artist Mi Kyung Lee with Korean roots, *1967, first studied painting in Seoul at the Ewha Womans University. In 1990 she came to Germany because she attracted painters like Gerhard Richter and Anselm Kiefer. There she studied fine arts at the Düsseldorf and Münster Art Academy (until 2000) – including as a master student of Prof. Udo Scheel and Prof. Ulrich Erben. She lives and works in Berlin. Her pictures can be seen in a number of individual and group exhibitions, nationally and internationally.

Mi Kyung Lee is a member of the West German Association of Artists (Westdeutschen Künstlerbund e.V.)

»Each of my pictures is space for the viewer to discover their own stories. Everything I paint doesn't really exist - they are pictures of experiences and memories or just room for imagination.«


2003 „start“ – Advancement award for young artists from the Kulturstiftung der Kreissparkasse Steinfurt – award winner, Steinfurt, Germany
2000 Asia-Europe Young Artists’ Painting Competition - Nominiert- Seoul, South Korea
1998 DAAD Prize – Winner – Münster, Germany

solo exhibitions

2020/21 Clouds & Landscapes / KVLEGAL – Berlin, Germany
2013 The wide view / St. Johanniskirche – Herford, Germany
2012 Blackscapes / Galerie Hoffmann Contemporary Art – Rheda-Wiedenbrück, Germany
2011 Black Landscape / Galerie MünsterArt – Münster, Germany
2010 Atelier 2010 Seoul / b2project-gallery – Seoul, South Korea
2009 Landscapes of Remembrance / Leonardo Campus – Münster, Germany (C)
2009 Black Landscape / Quarter 7 – Münster, Germany (C)
2007 Black Landscape / GLS Bank – Bochum, Germany
2005 Somewhere / Gallery January – Bochum, Germany
2004 Black Landscape / Cultural Foundation of Westfälische Provincial Insurance - Münster, Germany
2004 very far away / zweite_Zeit, Association for the Promotion of Contemporary Art – Münster, Germany
2002 Black Landscape / schumannsraum – Munich, Germany (C)
1999 West-Eastern Metamorphoses / Art Dealership Michael Nolte – Münster, Germany
1998 The room / cuba – Münster, Germany (C)
  (C) = Catalogue

group exhibitions

2019 Sichtweiten, 34th overview exhibition of the West German Artists' Association (WKB) / Städtische Galerie Iserlohn – Iserlohn, Germany (C)
2019 Lightfast / Dr. Carl Dörken Gallery – Herdecke, Germany (C)
2018 Lightfast / Balta Gallery – Kaunas, Lithuania
2017 Current art from China, Korea, Japan, Vietnam / artlet-studio – Münster, Germany
2017 Black & White / artlet studio – Karlsruhe, Germany
2017 Märzenbecherduft (March mug fragrance) / Galerie Alte Schule – Berlin, Germany
2014 kreatürlich / artlet-studio – Münster, Germany
2014 Artists from Galerie Hoffmann visiting Galerie Root Berlin / Galerie Root – Berlin, Germany
2012 Contemporary Bible Art / St. Johanniskirche – Herford, Germany (C)
2011 on the road – at home / Meno Parkas Gallery – Kaunas, Lithuania
2010 Imaginary Scene / Cais Gallery – Hong Kong, China
2010 Hong Kong Art Fair / Hong Kong Art Fair, Cais Gallery – Hong Kong, China
2010 Seoul Open Art Fair 2010 / Seoul Open Art Fair 2010 – Seoul, South Korea
2010 Country outing – WKB / Liesborn Abbey Museum – Wadersloh, Germany
2009 New Landscape – WKB / Meno Parkas Gallery – Kaunas, Lithuania (C)
2009 New Landscape – WKB / ThyssenKrupp Steel Training Center – Duisburg, Germany (C)
2008 Group exhibition / Galerie Kätelhön – Möhnesee, Germany
2006 calculated and intuitive / Grudziadz Museum – Grudziadz, Poland
2006 calculated and intuitive ... concrete – constructive informal – deconstructive / Meno Parkas Gallery – Kaunas, Lithuania
2006 Master students Prof. Udo Scheel / Sparkasse Gelsenkirchen-Buer – Gelsenkirchen-Buer, Germany
2006 one studio – twice painting / Wohn+Stadtbau Münster – Münster, Germany
2005 Annual Gifts 2005 / Westfälischer Kunstverein – Münster, Germany (C)
2005 Wages of work – WKB / Kunstmuseum Mülheim an der Ruhr – Mülheim an der Ruhr, Germany (C)
2005 Landscapes of Remembrance / Kunstverein Ahaus – Ahaus, Germany
2004 Painting 04 / Barmenia Insurance – Wuppertal, Germany (C)
2004 Way home / Gallery Martin Kudlek – Cologne, Germany (C)
2004 Painting 04 / Kunsthalle Recklinghausen – Recklinghausen, Germany (C)
2004 Landscapes / Gallery S65 – Cologne, Germany
2004 HERE AND NOW / Gustav Lübke Museum – Hamm, Germany (C)
2004 Landscape paintings – Bochum collects II / Bochum Museum – Bochum, Germany (C)
2003 Ingrid Langanke & Mi-Kyung Lee / Association for Contemporary Art Ruhrgebiet – Oberhausen, Germany
2003 sTART / Kulturstiftung der Kreissparkasse Steinfurt – Steinfurt, Germany (C)
2002 06-02 / Gallery Clasing – Münster, Germany
2002 Overview – WKB / Bochum Museum – Bochum, Germany (C)
2001 Small sculptures & objects, picture series / Galerie Michael Schlieper – Hagen, Germany
2001 Evident/ambivalent - West German Artists Association (WKB) in Lithuania / Gallery Meno Parkas – Kaunas, Lithuania
2000 Asia-Europe Young Artists’ Painting Competition / Asia-Europe Foundation, Seoul Arts Center – Seoul, Kyongju World Culture Expo, Kyongju, Na In Gallery, Kwangju and others, South Korea (C)
2000 From house to house, West German Artists Association (WKB) / City Gallery Lüdenscheid – Lüdenscheid, Germany (C)
1999 Light Incidence / Simultaneous Hall – Cologne, Germany
1999 Master students in Westphalian Castles / Opherdicke House – Holzwickede, Germany
  (C) = catalogue

Boesner magazine „Kunst und Material“ (”Art and Material“)


July/August 2020 Editorial in the magazine "Kunst & Material" of the company Boesner about my work. Text by Sepp Hiekisch-Picard

You can download a PDF of the article here

A shimmering play of colors all around the walls welcomes visitors to the Berlin studio of the Korean artist Mi Kyung Lee. Large-format canvases pinned directly to the wall, covered all over with circular, overlapping and interpenetrating areas of color, like excerpts from a polyphonic, expansive color music. In addition, there are small-format, cushion-like pictures whose transparent application of paint conveys calm and meditative concentration. Everywhere in the spacious studio on the ground floor of a Kreuzberg apartment in an old building there are traces of intensive work processes: Ink pads made or purchased, sorted by size on the large workbench, next to them paints, pigments, brushes and tools. On the walls are the imprints of the colors that have created their own image through the canvas or paper. For two years, Mi Kyung Lee has been experimenting with new artistic techniques and forms of expression. Color has found its way into her black and white pictorial world, whose oil paintings, reminiscent of Far Eastern ink painting, have been her unmistakable trademark for two decades. In conversation and when looking at her new works together, one notices the artist in her spontaneous joy and desire for discovery with which she has started this new series of works. A surprising step in her artistic development, but a step that, on closer inspection, has a logic inherent in her earlier paintings. (...)

Sepp Hiekisch-Picard

Because if we take the time, which these pictures undoubtedly require, it is precisely the lack of motivic points of attraction, the absence of effects and sensations that sharpens the senses and throws the gaze back on itself: a painting without any claims; a painting whose pictorial world ultimately promises no more than we, the viewer, can redeem with our imagination, our memories and experience.

Dr Stefan Rasche

A large number of actions lead to the formation of the image: in her work, Mi-Kyung Lee sets color in motion!
Despite all the differences in the approach and the differences in the painterly actions, from slow to very fast, it is noticeable that the artist maintains the secure calm in her work, in her handling of the paint, which the picture needs in order to be able to work the way it does met the viewer.

There are no limiting color schemes: you can always experience that the picture size and format are only the physical limits of what can be perceived. The intentions of the painter point far beyond the edge of the picture.

Before a specific motif reveals itself or motif associations form, something significant sets in: the process of creating a picture has to be understood.

The texture of the surface reveals what happened to impress the viewer so much. Different properties of the color material act in the form that occurs in each case - rich gloss, reflective, matt, dull or absorbent surface. They create changing perceptions.

Ekkehard Neumann

nach oben