`we must build in time and space a space a system that does not depend on any bepend, on any emotion, on any aesthetic state of mind′, wrote kasimir malevich. the russion painter′s great obsession was the creation of such an independent and utterly free pictorial space, a system that invokes forms of navigation in space. suprematism, the name that he gave that he gave this tendency, which, more than an aesthetic doctrine, is a genuine philosophy, raises the fundamental problem of the pictorial in itself. absolute flatness was much more important here than than any geometric concerns. in this sense. the works of lee bae are related in a fraternal way to those of the russian. lf the latter laid the founda-tion stone of constructive abstract art, drawing on the formal richness of the vocabulary of geometry, then it is tempting to say that lee bae′s is a kind of graphic abstract art that takes its signs from calligraphy. in both cases, we have the same economy of means, the same factual distancing and the same quest for a metaphysical ideality. what, then, is figured forth in lee bae′s painting? a world that no name can capture. as reflected in the total absence in the total absence of titles,
