Trained in traditional Chinese ink painting, Lee Chun-yi had also spent a considerable amount of time in Paris on a scholarship, studying the enormous art collections in museums and galleries. Influences from the West and the East, and Lee’s own explorations lead to a characteristic style of his own. He made use of a cork, which is porous and water-absorbant, to compose his images of landscapes. Being cut into small square tiles, these corks became reusable ink stamps. By controlling the pressure applied on paper and the moisture on the cork stamp, various images can be composed one piece at a time. The resulting landscapes, which are reminiscent of Northern Song’s style, disintegrate into tiny tiles at close look. According to the artist’s own explanation, such a grid configuration is in fact a metaphor of the current disunity of his homeland china. In artistic terms, the shift between a macroscopically realist image to a microscopically abstract image, that is, as one draws closer to Lee’s canvases, allows the audience to visualize the interdependency between singularity and variations. This monograph includes a biography of the artist.