"Full Communion" is a series of drawings ranging from 18" x 24" to 6.5' x 6' that explore the wrestling interaction of human relationship, specifically through the lens of the artist becoming a mother. Through tightly rendered figures, each drawing conceptually exposes our tendencies to mask our humanity behind the neatly tied, well-packaged, perfectly presented "self". While exploring the nature of becoming a mother, with the reality that one emotion commonly sits openly, vulnerably and directly next to its opposite, abstracted form and deconstructed line become a predominate element within each drawing. This abstraction of form (new to Nowell-Wilson's work), acts as a developing library of vocabulary, a means of recording layered and complicated emotion that are often times inexplicable.
This series was created between March 2017 - March 2018, culminating in a solo show titled "Full Communion" at Project 1628 in Bolton Hill, Baltimore. Interviewed by Katherine Tzu-Ian Mann and published online on Bmore Art, Nowell-Wilson divuldges the conceptual formation of Full Communion in an article titled "Art, Motherhood, and Full Communion".
With this series, the final goal was to present a new body of work that acted as a processing tool for Nowell-Wilson, but also openly divuldged topics often un-discusses in the art world: relationship, growing pains, weight and movement within the realms of motherhood. Often the "roles" of Artist and Mother are viewed as seperate and combative, and art refrencing motherhood is seen as "mommy art" and hobby oriented. Lee Nowell-Wilson's work is an intentional opposition to that idea, and an exposure of the fact that motherhood does not compromise the quality of an artist's work.

(N)ONE is a continuation of the Full Communion series created by Lee Nowell-Wilson during her first year of motherhood. As with Full Communion, this project is an investigation of weight, the maternal, movement and human relatioship. Through continued use of charcoal and graphite to portray highly realistic and technical renderings of form and strucutre, Nowell-Wilson conceptually invetigates aspects of humanity masked behind the neatly tied, well packaged and "perfect self". Abstracting and deconstructing parts of each piece's structure becomes and effort to grapple with the formless, occasionally incoherent navigation of daily life; to reveal the unseen weight of motherhood, or the incalculable rhythm of marriage through layers of both defined representation and indistnct mark making.