Correspondence is a minimal white canvas that is defined by three broad grey brushstrokes. It is emblematic of Lee Ufan's methodology which is reductive and based on an utter concentration on essential elements. Gesture and the body play a key role in the making of Lee Ufan's paintings, during which he crouches on a wooden plank placed over the surface of the canvas. Each brushstroke is applied slowly and is composed of several layers of crushed stone mixed with pigment. Where the brush first makes contact with the canvas, the paint is thick, forming a 'ridge' that gradually becomes lighter. Rarely does his brush touch the surface more than three times. Lee has said "When I make a brush mark on the canvas, I hold my breath, I concentrate and I pray that my hand, the brush and the canvas will be in harmony."

Correspondence is a minimal white canvas that is defined by three broad grey brushstrokes. It is emblematic of Lee Ufan's methodology which is reductive and based on an utter concentration on essential elements. Gesture and the body play a key role in the making of Lee Ufan's paintings, during which he crouches on a wooden plank placed over the surface of the canvas. Each brushstroke is applied slowly and is composed of several layers of crushed stone mixed with pigment. Where the brush first makes contact with the canvas, the paint is thick, forming a 'ridge' that gradually becomes lighter. Rarely does his brush touch the surface more than three times. Lee has said "When I make a brush mark on the canvas, I hold my breath, I concentrate and I pray that my hand, the brush and the canvas will be in harmony."

Correspondence is a minimal white canvas that is defined by three broad grey brushstrokes. It is emblematic of Lee Ufan's methodology which is reductive and based on an utter concentration on essential elements. Gesture and the body play a key role in the making of Lee Ufan's paintings, during which he crouches on a wooden plank placed over the surface of the canvas. Each brushstroke is applied slowly and is composed of several layers of crushed stone mixed with pigment. Where the brush first makes contact with the canvas, the paint is thick, forming a 'ridge' that gradually becomes lighter. Rarely does his brush touch the surface more than three times. Lee has said "When I make a brush mark on the canvas, I hold my breath, I concentrate and I pray that my hand, the brush and the canvas will be in harmony."