Untitled

Lee's printmaking practice does not begin and end with the framed sheet. Alongside her mokuhanga, she produces artist books, felt sculpture, encaustic monotypes, silk paper works, and installation pieces, and her single prints are best read as elements within a larger ecology of object making. An untitled woodblock such as this one may stand on its own as a finished sheet, or be edited later into a folded book, a sewn textile, or an installed sequence. The flat print and the dimensional object share a common image source — a carved block — but their material lives diverge once the impression is taken. Lee's training at Charles Darwin University covered both textile printing and printmaking, and the Northern Territory school's engagement with Indigenous Australian printmakers and Asian-Pacific print traditions shaped a practice that resists tidy categorization. The print is one trace in a wider field of related work, and Lee's stated commitment to innovative print expressions frames each sheet as provisional rather than terminal.