Los Angeles

View of “Jennie Jieun Lee,” 2017. Photo: Jeff McLane.

View of “Jennie Jieun Lee,” 2017. Photo: Jeff McLane.

Jennie Jieun Lee

The Pit

View of “Jennie Jieun Lee,” 2017. Photo: Jeff McLane.

Among the torso-like, vertically oriented ceramics placed at deliberate intervals throughout “Seizure Crevasse,” Jennie Jieun Lee’s first solo exhibition in Los Angeles, a pair of small sculptures situated in and near the gallery’s eponymous pit were the most ominous and compelling. At the bottom of a five-foot-deep, roughly eight-by-four-foot rectangular recess in the gallery’s cement ground (an architectural leftover from the space’s former days as a car repair shop), a modest abstract ceramic piece with a glossy, multihued glaze rested like a decapitated head in a grave. Hovering over the edge of the pit, another form—this one clearly figurative and bust-like, crowned with an amorphous crimson headpiece that turned to green as it bled down over a misshapen forehead and into slit eyes—presided over the makeshift crypt like a headstone. The works, titled The Witch,

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