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David Lee has produced exploratory art work in various media since the 1970s. The most recent, photography-based work has developed within projects that explore concepts of colonization, space and history through a dialogue with the physical environment. The relationship between concept, physical reality and its perception through photographs remains fluid until (and sometimes after) the photographs are assembled, ordered and presented. The work's presentation can take the form of books, displayed photographic series or other formats that can include photographs, text and physical elements designed to draw the viewer into their own dialogue with the project. 


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Representative Work


Photographic Work


  • The History of Trees: Notes on Growth and Intimacy

    • Photobook with black and white images. Self-published in an edition of 50. 2021.

  • Colonization 1 2 3

    • Set of three potobooks with color images and hand-constructed slipcase. Self-published in an edition of 25. 2019.

  • Space and Material: Beach Variation​

    • Set of photographs in hand-constructed box with printed sleeve. Self-published in a limited edition. 2018.​​​



  • Skin Like Dust

    • Live sound and movement performance for three people performed once for an audience in an outdoor space. 1994.

  • Estuary

    • Live sound performance for found and invented sound makers with multiple performers. Performed for audiences on three separate evenings. 1992.​

  • Coalescence

    • Live sound performance for four performers with shortwave radios. Performed for audiences twice in two indoor locations. 1991.

  • Moving Toward Light

    • Movement improvisation for solo performer with pre-recorded sound emitted from tape recorders within the costume as part of Dance On The Loose, an annual choreographers showcase in Atlanta, Georgia in 1990. A second performance was filmed outdoors with a black and white Pixelvision camera in the same yea​​​​r.

  • Proximity

    • Black and white Super 8 film project for two performers with camera held at arms length while improvising movement within a small space. The film was produced and performed in 1988 and projected live as part of a set of work by the Red Clay performance group  in 1990. This piece was also presented during a visiting session with students at Nova Scotia School of Art and Design in 1993 and displayed on a monitor in a loop as part of at the New Lamps for Old art show at 378 Gallery in Atlanta in 2023.

  • Landscape

    • Color Super-8 film compiled of multiple three minute continuous segments for camera held at arms length while listening to recorded directions through headphones by solo performers in various outdoor environments. 1987.​


  • Recorded groupings of the performance work above were also presented in a session with students at Nova Scotia College of Art and Design in 1993 and in a broadcast on WREK, Georgia Institute of Technology’s radio station, in 1992.




  • Intuitive Action Work

    • Essay in Intuitive Action Work 1988-1994, self-published book 1994.

  • An Accident of Location

    • Experimental fiction published in Loblolly, Volume 1, No. 3/4, 1988.

  • A Few Notes on Politics, Art and Political Art 

    • Essay published in Art Papers Vol. 8, No. 5, 1984. 

  • Alone-With: 22 Parts

    • Experimental fiction published in Chicago Review, Volume 33, No 3, 1983.

  • Segments 

    • Opening text to booklet accompanying Stan Sharshal’s solo art show at the High Museum of Art, Atlanta, Georgia 1981.

  • Trailer

    • Experimental fiction published in Chicago Review, Volume 32, No 2, 1980.

  • Reporter

    • Experimental fiction published in Chicago Review, Volume 31, No. 2, 1979.

  • Act One, Act Two

    • Text poems, published in The Bitter Oleander, Volume 1, No. 2, 1975.


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