The central concern of Rozana Lee's ongoing research and practice is how to create a contemplative space where cultural dynamism can be felt as togetherness or belonging. Drawing from multigenerational family history of migration and displacement, Lee seeks different rhythms, contours, and experiences as coexisting, sympathetic, and reconfigured.
Installation view, Geography of nostalgia, 2025, hand-drawn, hand-stamped, and hand-dyed silk and cotton batik textiles, laser-cut stainless-steel motifs, painted, REDBASE Foundation, Yogyakarta, Indonesia.
Installation view, Geography of nostalgia, 2025, hand-stamped and hand-dyed cotton batik, laser-cut stainless-steel motif, painted, bamboos sourced from the residency neighbourhood, and quilt made of printed batiks collected from family’s shophouse in Aceh, REDBASE Foundation, Yogyakarta.
Installation view, Sekali pendatang, tetap pendatang (Once an immigrant, always an immigrant), 2023. Photo: Sam Hartnett. Courtesy of Te Uru Waitākere Contemporary Gallery, Tāmaki Makaurau Auckland.
Installation view, Sekali pendatang, tetap pendatang,
high definition single-channel video, 15.14 mins, colour, sound, and text, rear-projected onto 2004 tsunami-soiled fabric screen on powder-coated steel posts. Photo by Sam Hartnett. Courtesy of Te Uru Waitākere Contemporary Gallery.
Installation view, Drawn to see(a), 2024, Blue Oyster Art Project Space, Ōtepoti Dunedin. Photo Miranda Bellamy.
Installation view, Several degrees of attention, 2022, Govett-Brewster Gallery, Ngāmotu New Plymouth. Photo: Bryan James
Installation view, Adzan, 2018, single channel video, sound, 5 min 21 sec, projected onto tsunami soiled fabric, stainless steel posts, sandbags, 1500x1800mm (screen). Photo courtesy & collection of Christchurch Art Gallery, Ōtautahi Christchurch.