In simple, Lee's style is rooted in popular culture, but retains the screeching dynamicizm of yesterday's subways while still using the graffiti based tool the spray can.
Unlike past paintings where the helicopters were embraced and celebrated as gallant warriors going into combat, they instead are referred here as reflections of ourselves, powerful with conviction and hope yet, innocent and vulnerable.
Inanimate objects are very much alive with its rotors and rivets, just as are the stone reliefs in the twelfth century shrines throughout the country. It is the undeniable human struggle here, between the young and the entrenched of ideals that brings the soul of its creators into the object in presence.
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