Neuroscientist Turned Artist: An Interview With Timothy Lee
[dropcap class=”kp-dropcap radius”] T[/dropcap]imothy Lee hit the art world with astounding force. He was born in South Korea but grew up in New York City where he still resides today. As a medical student (neuroscientist to be exact) turned artist, Lee emanates with the glow of someone who has followed their heart and not only dared to dream, but did it with character, with courage, and succeeded. Lee’s images are large scale watercolors, made up of profound and moody fractals that seem to be intensely narrating a story directly to the viewer. The paper used is often bent and distorted to suit his needs giving the images even more depth. His years of studying in the medical field are very apparent in the art he makes today. Poignant and vulnerable, Lee’s paintings evoke a whirlwind of emotions familiar to most of us. CULTURE asked Lee if he would speak with us about his upbringing, career choices, and a few secrets that we might have never known about otherwise.
What in your personal life has influenced you to choose your career?
When I initially wanted to become a physician and was applying for medical school, a large portion of that aspiration was honestly trying to meet the expectations placed on me (personal, familial, cultural) as a first generation Asian American. Because my anxiety disorders and panic attacks originated from my inability to cope with my Korean and American backgrounds (and their different hemispheres of thought), I had hoped that going into medicine and fulfilling what is expected of me would essentially cure me (even though deep inside I knew that was dumb logic). But it took a panic attack during my senior year in college for me to realize that I wouldn’t, couldn’t become a doctor and that I had to follow my true passion in art. Using my background in biology and neuroscience, but with the language of the visual arts, I developed a symbiotic relationship with my practice to better manage my own anxiety; my psychological disorders become generative, rather than degenerative, influences in my life. And so just like that, I stopped everything I was doing, and rented a studio in Brooklyn as soon as I graduated. Two and a half years later, here I am with no regrets.
Were you ever discouraged? If so, how did it affect your creativity?
Constantly! I mean, who isn’t? Whether it’s an artwork falling to shits, a submission not working out, or just being frustrated with my practice/progress, there’s always bumps and dips in my path. But that’s to be expected in any profession that’s truly worth pursing—discouragement is a form of challenge we need to face and overcome to make success that much more satisfying. Granted, it’s not easy—I understand personally. A huge portion of my feeling discouraged is self-inflicted, mostly because of the stressful and often negative thoughts I constantly have swimming in my head. Luckily, I have really great friends and a supportive family as a support network.
What is the best advice that you have been given and vice versa?
One of my favorite quotes, and the best advice I’ve ever received from an artist, is from John Baldessari. He said that every young artist should know three things: “Talent is cheap. You must be possessed, which you cannot will. And you must be at the right place at the right time.” Although I’ve only been professionally making art for less than three years, I’ve already come to understand and deeply value that sentiment. And beyond just talking about becoming an artist, I think it also applies to any profession.
What was the biggest opposing force that you encountered on your creative journey?
Probably the art world. It’s like being back in elementary school where kids are in their own little tree house clubs and selectively pick others to join them. Seriously though, the art market is the most destructive force to an artist’s creativity.
An artist is always toying with a scale that balances their commercial success with their conceptual success (the latter describing the production of work that truly encapsulates their vision, whereas the former describes works that are easily sellable in the contemporary art market). I’ve seen too many artists give in to creating trendy works, or never deviating from a series that brought them their initial acclaim. Their works become banal and loses its sincerity.
What are your thoughts on the medical cannabis movement taking place today in the United States?
I completely support the progressive movements happening in the United States regarding medicinal cannabis and reducing the stigmatism associated with using it as alternative forms of therapy. There are countless studies that all point to the psychological and physical benefits associated with cannabis use, such as managing chronic pain, anxiety, insomnia, nausea, and other debilitating conditions.
Can you tell us something about yourself that most people wouldn’t know?
I really wanted to be a tattoo artist at one point, and I kind of still want to. I have a growing collection of tattoos on my body—each one represents a very specific milestone in my artistic or personal life. Hopefully when I die I’ll be covered head-to-toe (sorry, mom and dad) in amazing memories.
