Seok Lee
FRAME is an ongoing photography-based land art research project by artist LISEOK, initiated in 2018. It explores the relationship between humans and nature through coexistence rather than intervention, using artificial light as both medium and analytical tool.
A key focus is how energy is produced, stored, and used. In selected sites, the artificial light is powered by solar energy generated by the artist. During the day, portable solar panels collect energy, which is stored and used at night to activate the work. Energy production thus becomes part of the artistic process rather than an invisible support system.
FRAME is site-responsive and research-based. Each location is treated not as scenery but as a set of environmental and spatial conditions. Distance, terrain, weather, wind, fog, and natural movement shape the work and are not controlled but adapted to.
Artificial light is used not as spectacle but as a minimal intervention, revealing how nature is framed and interpreted through technology.
Seok Lee, FRAME Cheongsong Ice Valley, 2022, Cheongsong County, Gyeongsangbuk-do, South Korea.
This work was created at Cheongsong Ice Valley, where cold air continuously shapes the landscape.Limited sunlight reaches the site even during the day, requiring solar energy to be generated slowly over two days.A rectangular field of artificial light is projected onto a frozen rock face formed by repeated dripping and refreezing.The light briefly interrupts a process defined by temperature, gravity, and time.Its soft green tone contrasts with the dense white surface, revealing the difference between natural accumulation and human intervention.
Seok Lee, FRAME Chuam Rock, 2021,Gangwon-do,East Sea, South Korea.
Photographed at ChuAm Chotdaebawi (Chotdae Rock), on the east coast of Gangwon-do, South Korea, a place known for witnessing the first sunrise in the country. Captured just before dawn, this image records a moment suspended between darkness and light. A rectangular beam of light is physically projected onto the rock formation on site, responding to its surface and scale. The cool tone of the light echoes the pre-dawn atmosphere, aligning artificial color with the natural transition of the sky. Rather than illuminating the landscape, the light marks a temporary human presence within a larger natural cycle, reflecting on time, anticipation, and coexistence.
Seok Lee, FRAME Daksum Island, 2023, Goheung, Jeollanam-do, South Korea.
This work was created over four days in Namyeolli, on the southern coast of Jeollanam-do.The site is defined by numerous small islands and narrow water channels, where sightlines constantly overlap and dissolve. Photographed at dawn in spring, during peak cherry blossom season, the area was repeatedly covered by heavy fog. Visibility shifted unpredictably, and many attempts failed as projected light scattered across mist or water before forming a stable image. A horizontal field of artificial light briefly settles on the island, reflected by the surrounding sea. The photograph records a moment shaped by repetition, delay, and the acceptance of conditions beyond control.
Seok Lee, FRAME Seorak-myeon, 2025, Seorak-myeon, Gangwon-do, South Korea.
This work was created on a quiet night in late autumn, when the forest was fully colored by fall foliage. There was no wind and no audible sound; the landscape remained completely still. A rectangular field of artificial light is projected onto the mountainside, momentarily revealing the texture and density of the trees. The warm light contrasts with the surrounding darkness, not to illuminate the scene, but to mark a brief point of contact. Reflected softly on the surface of the water, the image records a suspended moment in which time appears to slow, allowing human presence and natural rhythm to briefly align.
Seok Lee, FRAME Yeongnam-myeon, 2023, Yeongnam-myeon, Goheung County, South Korea.
This work was created late at night in Yeongnam-myeon, Goheung County, South Korea. The sea was completely still, without any visible movement, turning the water into a dark, reflective surface. A rectangular field of artificial light is projected onto a rocky island, touching trees, stone, and water at once. The colored light does not animate the landscape but rests within it, emphasizing suspension rather than action. Reflected faintly on the surface of the sea, the image records a moment when time appears paused, where natural elements and human intervention briefly coexist in silence.