
Why Moka Lee matters
Moka Lee is a South Korean painter, born in 1996, who has moved from student art fairs to two international galleries and a fast-rising secondary market in under a decade. Her paintings, built from screenshots and posts pulled from strangers' social media accounts, have made her one of the most closely watched Gen Z figurative painters working today. For a collector, she is a case study in a market still forming in real time, with a single auction data point, deep gallery waitlists, and early institutional collecting all pointing the same direction at once.
- Nationality
- South Korean
- Media
- Painting
- Movement
- Contemporary
- Education
- BFA, Painting, Sejong University, 2021; MFA, Fine Arts, Korea National University of Arts, 2022 (per 2025 CV; some earlier gallery bios describe her as still enrolled)
- Signature motifs
- Appropriated social-media portraits of strangers, Screenshot-derived figuration
- Representation
- Jason Haam, Carlos/Ishikawa
By the numbers
- HK$1,651,000 (about USD 211,000)Auction highI'm Not Like Me, Phillips Hong Kong, 25 November 2024
- 2025 selectionArtsy VanguardArtsy Vanguard 2025 cohort
- Jason Haam; Carlos/IshikawaRepresented byDavid Kordansky Gallery hosted her 2026 Los Angeles solo debut as an exhibition partner
- 1996, South KoreaBorn
Selected works
Click any work to view it full screen.
Biography
Moka Lee was born in 1996 in South Korea. She earned a BFA in painting (Western painting) from Sejong University in 2021 and went on to study fine arts at the Korea National University of Arts, listed as an MFA completed in 2022 on her most recent gallery CV, though some earlier gallery biographies described her as still enrolled in that program. She lives and works in Seoul.
Lee's practice centers on portraits sourced from images she finds on strangers' social media accounts, often screenshots or reposted photographs, which she translates into paint. The work has been described in the art press as a form of social media scavenging, using found digital likenesses to raise questions about identity, visibility, and the ordinary surveillance built into online life.
She won the DDP Prize at ASYAAF, the Asian Students and Young Artists Art Festival, in Seoul in 2019, and held early solo exhibitions at Gallery ANOV and Yugiche in 2020. Representation by Jason Haam in Seoul followed, culminating in her 2023 solo show Innuendo. Her international profile expanded quickly from there: a 2025 solo debut in the United Kingdom with Carlos/Ishikawa in London, selection for the Artsy Vanguard 2025 cohort, and a 2026 United States solo debut, Persona Works, at David Kordansky Gallery in Los Angeles.
Critical reception
Lee's rapid rise has drawn attention from both the Korean and international art press. The Art Newspaper profiled her in 2025 under the framing of a social media scavenger, describing her practice of building paintings from images found on strangers' accounts. CNN Style covered the same body of work, focusing on how she turns anonymous Instagram photographs into painted portraits. Her selection for the Artsy Vanguard 2025 list placed her among a small group of artists identified as shaping the current conversation in contemporary painting. No verbatim critical assessment from a named critic at a major outlet could be confirmed for this profile, and none is quoted here as a result.
Market
Lee's auction market consists, as of this profile's data date, of a single confirmed result. I'm Not Like Me (2020) sold for HK$1,651,000 (about USD 211,000) at Phillips Hong Kong on 25 November 2024, in the Modern and Contemporary Art Evening Sale. Korean and international press described the sale as her auction debut and noted that it far exceeded its estimate, an unusually strong result for a painter still in her twenties.
Because this is her only public auction result to date, it should be read as a single data point rather than a trend line. Her market currently runs mostly through primary gallery sales and waitlists at Jason Haam and Carlos/Ishikawa, with the David Kordansky Gallery exhibition adding institutional visibility, and the auction result serving as an early signal of secondary demand rather than an established pattern.
Top auction results
| Work | Price | Sale |
|---|---|---|
| I'm Not Like Me (2020) (2024) | USD 211,328 (HK$1,651,000) | Phillips, Hong Kong, 2024-11-25 |
Selected exhibitions
| Years | Exhibition | Venues |
|---|---|---|
| 2026 | Persona Works | David Kordansky Gallery, Los Angeles (US solo debut) |
| 2025 | FACE ID | Carlos/Ishikawa, London |
| 2023 | Innuendo | Jason Haam, Seoul |
| 2020 | Flame in a Small Room | Gallery ANOV, Seoul |
| n.d. | Masterful Attention Seekers | Museum of Contemporary Art Busan (exact year not confirmed in sourcing) |
| n.d. | SeMA Omnibus: At the End of the World Split Endlessly | Seoul Museum of Art (exact year not confirmed in sourcing) |
| 2023 | Karma | Frieze No.9 Cork Street, London (Jason Haam project) |
| 2023 | Art Basel Hong Kong | Hong Kong Convention and Exhibition Centre |
Museum collections
- Seoul Museum of Art, Seoul
- Kistefos Museum, Jevnaker, Norway
- Longlati Foundation, Shanghai
Awards and honors
- DDP Prize, ASYAAF (Asian Students and Young Artists Art Festival), Seoul (2019)
- Artsy Vanguard 2025 selection (2025)
- Forbes Korea 30 Under 30 (reported by Korean art press; not independently corroborated by Forbes) (2026)
Authentication and provenance
No catalogue raisonne.
No catalogue raisonne exists for this early-career artist. Works are verified through her representing galleries, Jason Haam and Carlos/Ishikawa, with additional exhibition support from David Kordansky Gallery.
Primary reference: https://www.jasonhaam.com/artists/68-moka-lee/
What collectors should know
Moka Lee's market is very young. There is no catalogue raisonne, and authentication runs through her representing galleries, Jason Haam and Carlos/Ishikawa, rather than an independent board or estate. Her only confirmed auction result, the November 2024 Phillips Hong Kong sale, exceeded its estimate substantially, but a single sale cannot establish a reliable price trend, and collectors should expect future auction appearances to move that picture meaningfully in either direction. Given her institutional momentum, from the Seoul Museum of Art collection to a 2026 Los Angeles gallery exhibition, provenance and gallery documentation matter more than usual at this early stage of her market.
Further reading and resources
Data current as of 2026-07-13.

