Al's professional career as an artist spans more than 50 years. In 1968, he earned the position of staff artist for the executive staff, National Aeronautics and Space Administration (NASA), Redstone Arsenal, Huntsville, Alabama. In this position, along with handpicked NASA artists, Al illustrated proposed space hardware for such farsighted programs as the "Lunar Mission," "Space Shuttle," "Space Station", and the "Mars Landing Mission." These artistic works were submitted to congress by vice-president Agnew in support of NASA's Program Development Programs. Artistic illustrations from the programs appeared worldwide in various books, magazines, newspapers, and during NASA's televised Apollo Lunar program (Man on the Moon Mission), 1969. Al was one of three artists selected to implement the first 3D exhibits and other visuals in NASA's original Space Science Museum; constructed to display the "Lunar Landing Craft," "Moon Rock," and a variety of space gear from the historic Lunar Mission program. Following tenures with other government and corporate concerns, 1972 -- 1982, Al formed and operated marketing communications and advertising agencies for 15 years in Greenville, South Carolina, and Augusta, Georgia. The agencies' impressive list of clientele included leading national and international corporations such as Phillips Fibers; Fluor Daniel International; Sud Chemie; Dana Corporation; Rieter Corporation; Robert Bosch; Litchfield, Inc.; Bausch & Lomb; The Cliffs at Glassy Golf Resort; Public Broadcasting (PBS); University of South Carolina; Duke Power Company; Symtech Systems and Technology, Inc.; and The DeMint Marketing Group, Inc.; among others.

In 1979, Al was commissioned by the Messianic Center Museum, Chattanooga, Tennessee, to design and implement three  large biblical dioramas and assist with display of photographic visuals depicting the history of Judaism beginning 1,500 B.C. - "The Land, The People, and The Book," and the "Holocaust" of W.W. II. One of his many painting commissions over the years includes four large landscapes (4 1/2 ft. x 6 1/2 ft.) for the newly constructed (1989) Duke Power facility in Greenville, South Carolina.

Albert Lee is past president of the Greenville Artists Guild, Greenville, SC; a former member, board of directors, Greenville County Museum of Art, Greenville, SC; Greater Greenville and Greater Spartanburg Chambers of Commerce in South Carolina; Better Business Bureau of the Foothills. SC; Greater United Way Community Awareness Committee, Greenville, SC; Metropolitan Arts Council (MAC PAC), Greenville, SC; Sertoma International; Executive Association of Greenville, SC; Round Towner's Volunteer Group, Greenville, SC; Civic Arts League, Chattanooga, TN; Tennessee Artists Association; Board of Directors, Augusta Care Pregnancy Center, Augusta, GA; "Who's Who Registry of Global Business Leaders" (1993-97); Kiwanis Club, Augusta, GA; The Greater Augusta Advertising Club, Augusta, GA; Augusta State University Faculty Club; International Who's Who of Entrepreneurs; Huntsville Art League and Huntsville Museum of Art, Huntsville, AL; St. Louis, MO, Symphony Volunteer Association; Air Force Artists Program, managed by Secretary of the Air Force.

As an adjunct professor from 1976 to 2003, Al developed and taught a variety of college and university classes, including world and art history, drawing and painting, graphic design, computer graphics, and marketing and advertising. His exceptional diversity as an artist includes that of an accomplished portraitist.

Artist's Comment:

As an eclectic experimentalist, the body of my work reflects various forms of artistic expression (including realism, abstraction and impressionism) and medias (painting, drawing, construction, three dimension, pottery, graphics, photography, multimedia, and video). Basic design principles (balance, rhythm, harmony, repetition, contrast, etc.) and formalism are fundamental in the exploratory stage of the creative process. Regardless of the challenge, I use a formalistic approach in the design and depiction of phenomena. Therefore, a large degree of time is given to studying the outstanding qualities of the subject matter's formal values and how they will best express themselves within the intended composition. 

Conceptualizing the structural form of a visual experience (both subjectively and objectively) and then interpreting that experience with appropriate design principles are essential to any successful work of art. When this approach is taken, possibilities for the development of creative processes are endless. Experimentation with design serves as a vehicle of change and growth for the artist; a vehicle that prevents creativity from becoming stale and provides cohesiveness for the visual experience. It matters not what statement the artist is attempting to make, structured or unstructured, if the work is to be successfully executed it must employ good design. All lasting art forms, whether visual, performing, or musical, will contain one or more principles of design, found in nature. It is my belief that God's creation is the source from which the artist draws, directly or indirectly, in the execution of his or her artistic expression. As one of my most respected mentors, Emery Bopp, admonished: "Art is a means of fashioning forms from dreams and imaginations, of learning more of the infinite beauty with which God has surrounded us in His creation." Nature not only provides a vast and endless reservoir of infinite beauty that can send the artistic imagination soaring, but it can serve as an endless source for creative stimuli.

To produce an "enduring" work of art, apart from historical, political, or social implications, the artist must employ one or more principles of design and a degree of formality. Design principles and design elements (value, color, texture, shape, space, etc.) provide endless possibilities for subjective and objective interpretation of subject matter, as well as creative energy for the artist.