Her artworks first unfold from the body and intimacy. She uses ritual as a medium for intoning existence and shredding up vestiges of the quotidian, maternity, grief and vulnerability. A graduate of the Centro de Estudios Superiores de Diseño de Monterrey, she co-founded La Orgía and La Compañía, independent groups focused on Monterrey-based contemporary art production, study and awareness. Throughout 2018 she was a participant at that city’s Lugar Común, where she served as AIKIDO’s formative-processes coordinator. Her work has been shown in Barcelona, Düsseldorf and Saint Étienne, as well as at numerous cultural and exhibition spaces in Mexico City and Monterrey, such as the Casa de la Cultura de Nuevo León, the Centro de las Artes de Nuevo León, the Centro Cultural Plaza Fátima, the Colegio Civil Centro Cultural Universitario, El Cuarto de Máquinas, Galería Karen Huber, guadalajara90210, the Museo El Centenario Monterrey, Museo MARCO, Salon ACME and YNGSPC. Lee Betancourt enjoys support and recognition from several public and private institutions such as Las Artes Monterrey, la Bienal de Arte Joven, the CONARTE Reseña de Nuevo León, KADIST and the Patronato de Arte Contemporáneo.

Madre de noche (from the series Nana), 2021
Watercolor, pastel, ink on linen, brass, and beeswax

Sobreproducción (from the series Nana), 2021
Watercolor, pastel, and ink on linen

Let-down (from the series Nana), 2021
Watercolor, pastel, and ink on linen

Al cuerpo que se vierte, que palpita, que canta, 2024
Installation
5 beeswax, pigment, and brass sculptures on metal bases

Performance: Daniela Martínez, Eugenia Gallegos, Bianca González, Luz Loya, Andrea Reyna, and Lluvia Villalpando, directed by Carolina Espíndola (members of the la Compañía Guayacán)

Al cuerpo que se vierte, que palpita, que canta comprises a series of metal sculptures that integrate brass and pigmented wax and explore the relationships between rituality, calm, and care. The audio is from a performance exploring sound and healing through vibrations that immerse participants in a sacred space where sound becomes tangible. Within this sculpture room, or “circle that shelters,” the tones and frequencies of a lullaby are enacted through a ritual of movement, words, and bodily connection.