Adam Lee is an Australian artist from Melbourne, Australia.
Adam Lee’s vast landscapes aren’t really landscapes, just as his portraits aren’t really portraits. It might seem a trite proposition, but it’s one worth making. Describing Lee’s paintings purely in terms of representation – either straight or stylised – is missing the point. At once lithe and laboured, these lush, dense and fluid scenes, vistas, orbs and figures belong to a wider, more allegorical and atmospheric kind. They are memories and imaginings, ancient and enveloping. — Dan Rule, September 2012
The world building which Adam Lee has undertaken over much of his artistic oeuvre seems to have perpetuated its own fictionalised reality, from the time of the cradle of civilisation, in a Mesopotamian oasis 300 B.C.-cum-third century A.D. land that exists somewhere between two ‘Greats’. That of Alexander the Great, King of the Greek Empire, and Anthony the Great, Christian Saint and hermit leader of The Desert Fathers. Though in Lee’s fiction, both Greats inhabit the same time: the Christian hermits, and the cities and structures before Christianity, rest in this world of fluid colourful motion. The Mesopotamian Tower of Babel, with its conjectural origin as the Etemenaki ziggurat of Babylon, stands in this world with a ‘purple haze’ sky, whilst contemplative hermits sit in caves thinking radioactive thoughts. — Jack Willet, February 2015