Jocelyn
Lee (b. 1962, Naples, Italy) received a BA from Yale University
in 1986 and an MFA in Photography from the City University of New
York at Hunter College in 1992. Beginning in 1990, American
photographer Jocelyn Lee spent six years living with teenage mothers
and fathers in Texas and Maine to document this social phenomenon as
honest as she could. The result was a powerful record which she gave
the title: The Youngest Parents: Teenage Pregnancy as it Shapes
Lives (1997). Lee found herself in the documentary tradition of
Walker Evans, Robert Frank, and Diane Arbus. Lee lives and works in
Princeton, N.J., and Cape Elizabeth, Maine and lectures photography
at Princeton University.
Throughout
her career American photographer Jocelyn Lee has explored full length
portraits of seemingly unposed, even indifferent subjects. Her
beguiling portraits secure not so much an individual likeness but an
emblematic presence. Lee borrows from the formal conventions of
painting, lending a certain temporal permanence to her subjects while
maintaining the potency of the open ended photographic narrative. Manoeuvring back and forth
between levels of intimacy and unease, Lee also purposely looks for
spaces that are not to distracting, to encourage the viewer to focus
on the individual and psychological exchange of the portrait for
pertinent clues. When she makes the picture, Lee prefers to wait for
the moment when her subjects 'breath their own life into the room'
and are no longer aware of the camera. Yet for all their transparency
and brilliant details, her subjects, their stories, remain unknown,
deftly eclipsing the camera's attempts to capture them.
In
addition to portraiture Lee trains her camera in landscape and
interior photography. Consistent in her work is a focus on the visual
and tactile qualities of the material world, emphasizing the
chromatic and textural richness of flesh, fabrics, and foliage. Her
fascination with the physical and psychological transitions of people
has produced incisive portraits that capture the fraught passage from
adolescence to adulthood, as well as the changes that aging registers
on the face and body.
Whether
her subjects are landscapes, portraits or nudes, Jocelyn Lee's
photographs are about beauty and its poignant fragility. The
landscapes are not spectacular vistas but quiet places that seem
oddly familiar. Sometimes glowing with summer's light and sometimes
covered with snow, they endure through all the seasons of the year.
Lee
has also assembled a gallery of people, each of whom is remarkable
although none of them is famous. She endows every person with a vivid
yet dignified presence. Her portraits are full of implicit stories,
suggested by bodies and faces, and made all the more compelling by
the fact that her sitters seem absorbed in their own memories and
dreams.
With
a clear and compassionate eye, Jocelyn Lee encourages us to think
about eternal issues such as youth and age, our connections with one
another, our relationship with nature, and the place - or places - we
call home. She states: "The physical landscape serves as a
backdrop on which the human drama unfolds. The photographs allude to
the fragility of the human presence in the world. These portraits are
a way to look at particular people and the human body as a part of
nature, evolving and expressing their identity and place in life's
cycles."
Her
works are in the collections of Maison Europeen de la Photographie,
Paris, France; The Museum Folkwang, Essen, Germany; The Yale Museum
of Art, New Haven, CT; The List Center at MIT, Cambridge, Mass.; The
Colby College Museum of Art, Waterville, ME.; The Center for
Documentary Studies at Duke University, NC.; The Museum of Fine Arts,
Houston, TX.; The Bates College Museum of Art. Lewiston, ME.; and The
Farnsworth Art Museum, Rockport, ME. She is represented by Pace
MacGill Gallery. Her work has appeared in many national publications
including The New York Times Magazine, DoubleTake and Harpers. She
teaches at Princeton University.
Jocelyn
Lee lives and workks in Brooklyn, N-Y.
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