李庆美的作品不失为一种自我告白，她以自身经验中的熟知物拼合起特定的状态，并以视觉的若即若离为我们制造了一个能够窥视类似于福柯所说的“异托邦”的窗口。不同于虚幻不切实际的“乌托邦”世界，李庆美的“异托邦”是真实而具体的，这种真实在于“异托邦”本身存在于感知世界，它们不像乌托邦那样是没有处所的处所，而其实总是存在于众多被我们自觉或不自觉所规划出来的小空间之中。就像李庆美笔下精致的包装盒、安静的书桌以及不起眼的置物架所制造出来的异质世界。它来源于于我们所熟悉的经验，甚至凝聚了艺术家儿时以来的记忆和情感的缺失，同时也伴随着对于宇宙洪荒之力的想象。她所描绘的“异托邦”并不呈现某种单一恒定的普遍形式，而是和我们日常的世界时刻交互着，并如镜像一般投射出我们现实处境的存在。它渐渐把我们的经验抛掷在另外一个时空之中，通过这自我呢喃式的告白为我们在一般社会中不能企及以及实践的愿望寻找解决方案。

Kyoungmi Lee's work could be defined as a self-confession. She forms a certain status with her familiar objects that absorbed from her individual experience, and creates a window from dynamic movement in parallax, through which the public could be able to observe the heterotopia referred to Michel Foucault. Different from an unreal virtual world of utopia, heterotopies created by Lee are concrete and practical. Her heterotopies are veritable as they exist in the world of perception. These are spaces of otherness, which are irrelevant and divided consciously or unconsciously, that are simultaneously physical and mental, such as the delicate packing box, serene desk and inconspicuous storage rack she drew. The spaces are derived from life experience, and even adapted from Lee's childhood memory, her loss of emotion, and her imagination towards unfathomable universe. The heterotopies presented by Lee represent spaces that constantly interact with realistic world, which reflect reality like a mirror, rather than static constant spaces. Those heterotopies bring individuals into another space differed from the one they live in, and through her twittering self-confession, Kyoungmi Lee provides individuals with practical solutions to achieve elusive aspirations in real world.