Before it opened later in the day, I had the voluptuous pleasure of an empty gallery at Masterworks and the opportunity to preview Kok Wan Lee’s show Bermuda Trace. Sitting in the centre of the gallery space and quietly looking at the totality of the work created an evocative awareness that this was something special. The power of artistic thought and idea fully emerged from the muted walls.

What emanated was a balance of serene sensitivity and execution of craft that is beautifully voiced and cloaked in elegance. Each series, each piece singularly and as a whole is harmonious, complimentary as it presents a symphony in charcoal movement. The Bermuda Trace series, which is the central theme, strikes an ethereal tone like the capricious rolling curls of smoke in the wind. The depth and range of Lee’s image quality and excellent production values is impressive.

Q. What inspires you? What inspired this idea?

Kok Wan Lee (KWL): “An adventurous or creative artist does not need inspiration to create art. I just keep working and enjoy my artistic journey. The more you work, the more the inspiration comes. My series of charcoal drawings, entitled Bermuda Trace are based on Bermuda’s natural encounters with endless storms. The series reflects the life cycle of eternity. By applying expressive charcoal marks and chiaroscuro I try to suggest a trace of life and death.”

The presentation of the Cedar series was challenging for me. Up close within normal viewing distance of a few feet the drawings on newspaper and other background text was distracting. It impeded the interpretive process of my thoughts — is the image on paper? Is it on the glass? It felt like white noise disrupting the innate melody I wanted to hear. When I stepped back deeper into the room these very same pieces took on an animated, dancing quality. There was a cacophony of movement that was quite entertaining. This also speaks well as to the utilisation of positive and negative space in the presentation of the show.

Q. Is there an artwork here you are most proud of and why?

KWL: “No — I believe that the best result is a strong body of work. In other words, a series of work should speak as a whole and each work compliments or enhances the others. I curate or jury my pieces to create the body of work I want to present to the public; to create the story I want to tell and express in the exhibition.”

Q. How do you know when a work is finished?

KWL: “Picasso said a finished painting is [a] dead painting. It is natural for every artist to determine why they started and why they finished. It is up to the viewer to complete the whole story.”

The Fern Series is representational and offers a direction in perspective that conjures a presence that feels close, immediate and intimate. The botanical theme of the show is most obvious here and yet serves the philosophy of the show’s aesthetic with a laudatory anchoring to the graceful sweep of the exhibition. There are no obvious limitations in the monochrome of charcoal for Lee; he maintains a genuine excitement throughout this show.

Q. What is your most important artist tool? Is there something you can’t live without in your studio?

KWL: “Believing in my work is the key to success. I could work in any medium, with any material and on any surface. I really don’t have an important artistic tool. Believing in oneself is the most important artistic tool. I believe in a mark that is unique and try to seek a vocabulary that communicates to everybody. I use colour and movement in a painting so that people will say this is Kok Wan Lee’s work.”

Branching, Falling and Pampas Grass are immersions into dreamscapes of dimension and infinity. Though whimsical in some aspects there is nothing elusive here because Kok Wan Lee’s creative ability transcends just being novel, there is method behind the expression and clear articulation in the execution with the obvious: striking contrast, space, line and shape. Lee then renders movement which is engaging, rhythmic and innately beguiling; even sublime.

Q. How did you start making art? Why do you make art?

KWL: “I started at the Bermuda College 15 years ago. On top of that I took several overseas workshops in South Carolina which really opened up my artistic view. I make art because I want to share my ideas, emotions and possibilities to as many viewers as I can….

(There is a pregnant pause and then a mischievous smile spreads across Kok Wan Lee’s face)

“Let’s be honest — I make art to get rich and to make history!” (This is followed by raucous and unrestrained laughter).

Bermuda Trace is open through September 24 at Masterworks.