As Lee’s work is situated around the year 2000, certain recent theoretical studies on subcultures will be important to note. Many theories since the publication of Hebdige’s work have gone on to show how subcultural formations have moved away from adopting stylistic codes, in part due to the attention given to them by Hebdige and his peers. This paper leans on Hebdige’s notion of sartorial codes as forms of resistance against mainstream culture. Situated at the turn of the millennium, Lee’s work straddles the sacred codes located by Dick Hebdige within the subcultures of the mid-20th century and the proliferation and diffusion of subcultural style in the post-fashion 21st century. Through a study of Lee’s Projects, a clear image of a specific moment in the globalization of subcultures materializes. Working within subcultures, Lee forgoes association with the mainstream culture, assuming instead that only participation with subordinate groups will reveal a true self. Each group brings out a new side of Lee, who in turn, learns more about herself with each new character she inhibits. In her Projects series (1997-2001), Lee attempts to discover different sides of her identity by interacting with various subcultures. Perhaps surprising, the artist is always present in the photograph, like a performative Where’s Waldo? Lee’s ability to transform herself to fit her setting and blend in with the people around her challenges the notion of a singular, fixed identity. For those unfamiliar with her work, it may take a moment to realize that the woman attending a swingers dance is also the exotic dancer taking a phone call backstage, and also the old woman getting off the bus. Each snapshot reveals one facet of Lee’s identity.
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January 2023
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