Manila Bulletin Lifestyle Arts & Culture
Text by: Hannah Jo Uy
Photos by: Pinggot Zulueta
Lindsey James Lee is a man unbound. Unlike others, his artistic vision is not confined to society’s idea of what is and what is not. Instead, his artistic vision is consumed with the endless possibility of what could be. It is through this exploration of what could be, in all its infinite permutations, that Lindslee, as he is known among his contemporaries, transforms paint, canvas and other objects into a testament of the limitless quality of art.
Lindslee’s skill and devout passion drove him to a quest, a quest to answer the question, “What is art?”
Brave and intent on answering this overwhelming and often overlooked question, Lindslee takes it upon himself to materialize his innermost reflection into captivating pieces that moves him and which he hopes moves others to challenge whatever conception they have nursed to date. Lindslee’s captivating body of work embody the multiple answers to this never ending question.
The result of his latest pilgrimage is celebrated in his exhibit entitled, “It’s All in the Mind,” unveiled at the Gallery Duemila last August 3, 2013. Featuring a number of installation pieces and paintings, the collection represent the intellectual and emotional realizations of Lindslee regarding what is and what can be considered artwork, presenting his discourse through the destruction and misplacement of his own creations. He strips the work of its untouchable quality, making it into a point of reflection in which viewer’s mindsets, misconceptions and misunderstandings are challenged and reality is broken. It did not have the objective to entertain, or pleasure the aesthetic senses, it was designed to rouse the mind, to bring it out of the mould formed by society, out of the darkness and into enlightenment and awareness.
“It was an experiment,” Lindslee adds, “tinitingnan ko yung mga tao. Kung ang isang tao na walang alam sa art dinala mo sa museum, at sinabi mo na, ‘Itong painting na ‘to ,ang gumawa niyan ay sikat.’ Magiiba ba ang perception niya? Kapag sinabi bang painting, artwork siya agad? Itong painting na ‘to kung baliktarin ko, artwork pa rin ba siya? Painting pa rin siya?”
Indeed, Lindslee’s conceptual grounding brings about philosophical and intellectual reflection, making his work a catalyst for individual and, perhaps eventually, cultural change.
A Bacolod native, Lindslee’s inclination for creation started at a young age. It came so naturally, that it didn’t even strike the artist as anything different or out of the ordinary, it was just something that he was. Hungry for more training, Lindslee went to the University of Santo Tomas, where he graduated from the College of Fine Arts, a major in Painting. Studying under the likes of Ronald Ventura among other great masters, afforded Lindslee with a classical foundation that aided in his understanding of his craft. At the time, he was drawn to creating abstract forms and he went on to explore the local art scene. However, a trip to New York City became a turning point in Lindslee’s dynamic journey as an artist.
In 2001, a year after earning his degree, Lindslee went to New York City. Although officially a tourist, Lindslee was in reality an artist in training, diligently going around galleries, museums and joining competitions. To expand his knowledge he went on to study at the Arts League for two months, all the while actively participating and putting his art out there. It paid off, upon winning a competition he was awarded with an exhibit at Harisson Public Library in Uptown New York in 2003 which served as his debut exhibit.
With the famous city being a rich cultural experience, Lindslee’s initial trip opened his eyes to the contemporary arts. The sheer variety of works he witnessed fascinated and drew him in, and he was, as all artists are in unforgettable moments in their lives, inspired.
“Doon walang limitation ang mga installation at performance art,” Lindslee recalls, “Naisip ko na ang daming pwedeng gawin, walang limit at hindi lang sa painting at canvas. Na-expose din ako sa mga museums. Hindi lang art museum, sa mga science museums, mga taxidermy animals, natuwa ako. Iba yung epekto saakin. May gusto din akong paintings, pero iba yung nabibigay na satisfaction ng installation. Sa installation, ang daming elements, ang daming objects na pinagbubuo ang artist. Nakakabuo ako ng sariling konsepto, mas open, mas malaking possibility ang audience mo na magisiip.”
This began what was to be a dynamic career that spans across a variety of mediums showcased in almost 10 exhibits to date. Among the many mediums that Lindslee employs in his art, perhaps it is taxidermy that makes him particularly standout. While a common past time and hobby in the United States, the practice is not as popular in the local scene. However, motivated by his childhood love for wildlife and animals, as well as his admiration for artist Robert Rauschenberg, Lindslee was intent in trying his hand at incorporating taxidermy into his art. In 2007, upon meeting a friend who was involved in the practice there became an opening for Lindslee to learn for himself, and learn he did, setting out to improve his knowledge during his periodic trips to the US where he gathered information and materials from experts all over the city.
Since then his body of works have evolved to include his installations with taxidermy along with paintings. His style has taken on a life of it own, and continues to grow and expand. However, at the very core of his style is the one true philosophy that dominates his works: Freedom. Lindslee not only challenges the conception of art, he also validates freedom. His work is ruled by utter and absolute freedom, freedom for the purpose of pushing the boundaries of reality. He is unhindered by the need to please the market, or the majority. It is made to express, it is meant to create, and most importantly it is meant to create with dignity and integrity.
“Hindi ko pinipilit ang sarili ko na gumawa,” adds Lindslee, “Kapag bored ako, dun ako nakakagawa. Ayoko iniisip na kailangan gawin, lumalabas ang satisfaction pag bored na ako tapos nakabuo ako, doon lumalabas yung tunay mong pagkatao.”
Lindslee’s work is also unforgettable for its courage. In his works’ effort to inspire a feeling, a reaction, and begin a questioning, it is unafraid to destroy even itself, all for the sake of implanting a thought driven by the sheer belief that nothing is more powerful than a idea. Such a commitment to purity is refreshing, giving way to a sigh of relief upon the encounter of something that uplifts our humanity in the engagement of our intellectual faculties.
“Gusto ko magisip sila,” he adds. Lindslee’s goal remains the same: for art to be relegated to its original purpose. He aims to remind the people to treat it as more than an ornament judged based on interior compatibility or the color of the furniture, but rather as something that inspires a reckoning, a rebellion against unoriginal thought, a call for imagination to roam free, and a pledge for minds to become unshackled.