BIOGRAPHY

In recent years his attention has turned increasingly towards historic and alternative processes. Wet plate ferrotypes and ambrotypes, glass plate orotones and hand-coated printing methods such as Van Dyke Brown and cyanotype form the basis of a practice rooted in the nineteenth-century workshop tradition. These methods, inherently singular and resistant to repetition, encourage a slower dialogue between subject, material and time. Conceptually, his work often acknowledges the legacy of early pictorialism and the debates surrounding photography’s artistic status in the opening decades of the twentieth century.

 

Placed within the broader context of his practice is an ongoing commitment to education. Lee has delivered lectures and seminars internationally, served as a selector and juror for major exhibitions, and continues to share his experience with both emerging and established photographers. His work has been exhibited in Malta, London and South Wales, with further invitations from galleries in Japan, Rome and the United States.

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While no longer undertaking commercial commissions, he remains open to thoughtful collaborations with galleries, curators and fellow artists. His present focus is centred on making, writing, exhibiting and teaching — activities that collectively sustain a long-term investigation into photography’s evolving language.

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“Photography, for me, has always been less about the mechanics of description and more about the pursuit of understanding — a quiet exchange that begins long before the shutter is released.”​