SOL LEE IS AN INTERDISCIPLINARY ARTIST exploring gender, power, and identity through grotesque aesthetics. Her work deconstructs social and religious frameworks, reclaiming objectified femininity as a self-defined subject. Through distortion, fragmentation, and hybrid bodies, she transforms disgust and fear into forms of power and agency.
SOL LEE IS AN INTERDISCIPLINARY ARTIST exploring gender, power, and identity through grotesque aesthetics. Her work deconstructs social and religious frameworks, reclaiming objectified femininity as a self-defined subject. Through distortion, fragmentation, and hybrid bodies, she transforms disgust and fear into forms of power and agency.
SOL LEE IS AN INTERDISCIPLINARY ARTIST exploring gender, power, and identity through grotesque aesthetics. Her work deconstructs social and religious frameworks, reclaiming objectified femininity as a self-defined subject. Through distortion, fragmentation, and hybrid bodies, she transforms disgust and fear into forms of power and agency.
The project Shake It Up explores structures of obedience and submission internalised in women, disrupting them through the body and the senses to reveal the possibility of resistance and agency. Beginning with collage drawing, the work extends across sculpture, scent, soft sculpture, puppetry, film, and performance, moving across media to fracture patriarchal norms and fixed systems that have defined and controlled femininity.
The work overturns the animalistic and monstrous images historically imposed on women. Forms once used for degradation and control are distorted and merged into excessive, hybrid bodies. The hybrid monster is not a figure of fear, but one of force and vitality, awakening the suppressed body and destabilising existing hierarchies.
The project was developed during the MA programme at the Royal College of Art and realised through a collaboration with International Flavors & Fragrances (IFF). In 2026, it won the long-term project-based competition.
The project Shake It Up explores structures of obedience and submission internalised in women, disrupting them through the body and the senses to reveal the possibility of resistance and agency. Beginning with collage drawing, the work extends across sculpture, scent, soft sculpture, puppetry, film, and performance, moving across media to fracture patriarchal norms and fixed systems that have defined and controlled femininity.
The work overturns the animalistic and monstrous images historically imposed on women. Forms once used for degradation and control are distorted and merged into excessive, hybrid bodies. The hybrid monster is not a figure of fear, but one of force and vitality, awakening the suppressed body and destabilising existing hierarchies.
The project was developed during the MA programme at the Royal College of Art and realised through a collaboration with International Flavors & Fragrances (IFF). In 2026, it won the long-term project-based competition.
The project Shake It Up explores structures of obedience and submission internalised in women, disrupting them through the body and the senses to reveal the possibility of resistance and agency. Beginning with collage drawing, the work extends across sculpture, scent, soft sculpture, puppetry, film, and performance, moving across media to fracture patriarchal norms and fixed systems that have defined and controlled femininity.
The work overturns the animalistic and monstrous images historically imposed on women. Forms once used for degradation and control are distorted and merged into excessive, hybrid bodies. The hybrid monster is not a figure of fear, but one of force and vitality, awakening the suppressed body and destabilising existing hierarchies.
The project was developed during the MA programme at the Royal College of Art and realised through a collaboration with International Flavors & Fragrances (IFF). In 2026, it won the long-term project-based competition.
The project MANUAL begins with an experience of sexual violence in childhood and internalised passivity as a woman.
Through drawing, sculpture, puppetry, set, film, fabric, and soft sculpture, the work reveals how the body is objectified under external pressure and structured to operate like a manual.
The work does not remain at the level of a personal event. It dismantles imposed femininity and control within social structures, showing how the body moves across categories of woman, animal, flesh, and machine, where it is fragmented and reassembled.
This transformation does not expand the body but reduces it. The grotesque and excessive body exposes structures of oppression through a language of disgust and fear. At the same time, this excess transforms that language, suggesting the possibility of force and agency, and exploring the potential of a body that moves beyond oppression.
The project MANUAL begins with an experience of sexual violence in childhood and internalised passivity as a woman. Through drawing, sculpture, puppetry, set, film, fabric, and soft sculpture, the work reveals how the body is objectified under external pressure and structured to operate like a manual.
The work does not remain at the level of a personal event. It dismantles imposed femininity and control within social structures, showing how the body moves across categories of woman, animal, flesh, and machine, where it is fragmented and reassembled.
This transformation does not expand the body but reduces it. The grotesque and excessive body exposes structures of oppression through a language of disgust and fear. At the same time, this excess transforms that language, suggesting the possibility of force and agency, and exploring the potential of a body that moves beyond oppression.
The project MANUAL begins with an experience of sexual violence in childhood and internalised passivity as a woman.
Through drawing, sculpture, puppetry, set, film, fabric, and soft sculpture, the work reveals how the body is objectified under external pressure and structured to operate like a manual.
The work does not remain at the level of a personal event. It dismantles imposed femininity and control within social structures, showing how the body moves across categories of woman, animal, flesh, and machine, where it is fragmented and reassembled.
This transformation does not expand the body but reduces it. The grotesque and excessive body exposes structures of oppression through a language of disgust and fear. At the same time, this excess transforms that language, suggesting the possibility of force and agency, and exploring the potential of a body that moves beyond oppression.