Lizzie Wee (b. 1993) is a Singaporean multidisciplinary artist, curator, designer, illustrator, art director, video editor, and writer. She received her BFA from New York University and an MA Fine Arts from the Goldsmiths programme at LASALLE College of the Arts. Her present practice-based research investigates notions of identity and belonging; through an examination of archetypal female roles found in Southeast Asian pop culture and visual media. Her works are expressed through video, performance, writing for performance, and mixed-media installations. Wee has exhibited internationally in various galleries, showcases, symposiums, and art fairs in Singapore, Taiwan, Shenzhen, Szczecin, New York, Shanghai, and online.
Her curatorial practice has focused greatly on making art accessible and exploring tools like social media to allow a wider audience to experience and interact with either a physical or digital show. She has curated a 6-month takeover programme at the I_S_L_A_N_D_S Peninsular gallery space, a two-person online exhibition and a two-part online showcase for Substation’s SeptFest 2022. She has also presented solo exhibitions at Leevan Art Fair, Shenzhen in 2019, and I_S_L_A_N_D_S Peninsular, Singapore in 2022. She has most recently screened her work at a video festival held in Kinmen University, Taiwan in 2023.
Her writing has been published in the Currents Journal, a collaborative academic journal by the Centre of Visual Art (CoVA), University of Melbourne, and the School of Design, University of Western Australia. She was also awarded the Winston Oh Travelogue Art Award (Special Edition) in 2021. Apart from her artistic practice, Wee has worked with Sotheby's Hong Kong, and Kitchen Hoarder, a woman-run production team focused on lifestyle and food culture, written for Plural Art Magazine, a Singapore-based online publication, and taught children art with Pure Art Labs.
Lizzie Wee (b. 1993) is a Singaporean multidisciplinary artist, curator, designer, illustrator, art director, video editor, and writer. Her present practice-based research investigates notions of identity and belonging; from an examination of archetypal female roles found in Southeast Asian pop culture and visual media to appropriating superstitions and cultural rituals into humorous sculptural installations, her works are expressed through video, performance, writing for performance, and mixed-media installations. Wee’s areas of interest include how women are represented on screens, her own cultural heritage, and the tenuous relationship she has with online dating.
Her practice-based master’s research titled, “Questioning the Mirror: Re-Imagining the Southeast Asian Female Archetype through Performative Video,” examines and maps the roles of Southeast Asian women in pop culture and visual media to investigate themes of identity and belonging. In distilling seven different female archetypes through this extensive visual analysis, Wee has highlighted these archetypal roles in various works, mirroring and reflecting on the roles women are expected to perform and how to subvert them.
She is currently re-visiting a body of work that deals with the intangible forces of ‘good’ and ‘bad’ luck and various gestures used to affect changes in the ‘flow’ of luck. In drawing together all her varied and diverse interests, she is interested in delving deeper into the questions that undercut all her areas of research, namely what does it mean to belong and can one’s identity be fixed, or is it in a state of constant flux– a hazy shape her own fluid identity seems to take.
Film still from Homecoming - The Table Read (2021), Single-channel 4K digital video, 16:9 format, 26m 54s, Lizzie Wee, 2021. Displayed on a large-scale projector, accompanied with a 13 page series synopsis on 13 A4 pages.
Film still from Honey Trap (2021), Single-channel 4K digital video, colour, sound, 16:9 format, duration: 4m 52s accompanied with various sizes of organza prints of screenshots from the video with text overlaid from the original sound.
Film still from help me save you (2020) Single-channel HD digital video, colour, sound, 16:9 format, duration: 5m
Film still from Bubbly Best Friend Explained (2020), Single-channel HD digital video 16:9 duration: 4min 20s
Film still from No One is an Island (2021), Single-channel HD digital video, colour, sound, 16:9 format, duration: 5m 27s