Da Yee

ACENTRICSPACE第207位驻地艺术家

2026年九，十月驻地艺术家

Da Yee

No. 207 ACENTRICSPACE Resident Artist

2026 September, October Resident Artist
Da Yee

关于艺术家 About the Artist

（韩国 South Korea）

Instagram: @diedayee

Da Yee是一位来自韩国的视觉艺术家。其创作植根于韩国绘画传统，涵盖绘画、织物染色、木刻版画、陶瓷及装置艺术等多种媒介。作品探讨口语与书面语之间的空间，关注语言在重复、中断、遗漏、误听或无法完全转化为文本时所呈现的状态。对Da Yee而言，这些语言不确定性的时刻并非单纯的沟通失败，而是记忆、身体与经验得以转化为物质形态的某种痕迹。

其创作往往始于日常对话与言谈片段。艺术家并不将口述内容视为固定的叙事或纪实档案，而是敏锐捕捉语调变化、迟疑、重复、方言、未竟之语以及意义间的留白。这些片段通过绘画与物质性工艺进行重写、重组与转化。染色、绘画、木刻、激光切割及陶瓷烧制等技艺，成为将语言的韵律转化为实体形态与空间布局的途径。

在早期作品中，Da Yee关注并运用了来自长辈的对话与记忆，探讨了主要通过口语交流的一代人与依赖书面及记录形式语言的一代人之间的差异。《Nameless Birds and Butterflies》（2024）与《From the Subjective Origin》（2023）等作品便源于此类交流，将反复出现的词句、个人记忆及日常肢体动作转化为绘画、物件与装置作品。

近期，其创作视野从个人记忆扩展至故事如何在特定地点与社群中层叠交织。通过与当地居民交谈收集的口述内容，构成了探索故事的基础，这些故事游走于亲眼所见、亲耳所闻与难以言说的经验之间。这些叙事片段经由染色与手绘织物、激光切割木材及陶瓷作品呈现，追溯了口述记忆、景观、事件与物质痕迹之间充满不确定性的关联。

在整个创作实践中，倾听、阅读、写作、重写与物质转化构成了相互交织的过程。作品并不试图将言语转化为单一固定的含义，而是容许误解、误译、重复及不完整性的存在，以此探讨语言在人与人、世代、地点及物质之间流转时的演变。 2026年9月至10月，Da Yee 将在上海朱家角的无央空间驻地，在全新的语言与文化语境下，继续探索口语及其感官转译。此次研究旨在探讨：即便某些词语未被完全理解，人们仍能通过手势、节奏、语调、重复以及物质表面与之产生某种形式的“相遇”。

Da Yee is a visual artist from South Korea. Rooted in the tradition of Korean painting, the practice moves across painting, dyed fabric, woodblock printing, ceramics, and installation. The work explores the space between spoken and written language, paying attention to what happens when language is repeated, interrupted, omitted, misheard, or cannot be fully transferred into text. For Da Yee, these moments of linguistic uncertainty are not simply failures of communication, but traces through which memories, bodies, and experiences can take material form.

The work often begins with conversations and fragments of everyday speech. Rather than treating oral accounts as fixed narratives or documentary records, the practice listens for changes in tone, hesitation, repetition, dialect, unfinished sentences, and gaps in meaning. These fragments are rewritten, rearranged, and translated through painting and material processes. Dyeing, drawing, woodcutting, laser cutting, and ceramic firing become ways of carrying the rhythm of speech into physical forms and spatial arrangements.

In earlier works, Da Yee worked with conversations and memories shared by older generations, considering the differences between generations who have primarily experienced language through speech and those who have come to rely on written and recorded forms of language. Works such as Nameless Birds and Butterflies (2024) and From the Subjective Origin (2023) developed from these encounters, transforming repeated words, personal memories, and everyday gestures into paintings, objects, and installations.

More recently, the practice has expanded from individual memories toward the ways in which stories are layered through places and communities. Oral accounts gathered through conversations with local residents have become a basis for exploring stories that circulate between what was seen, what was heard, and what remains difficult to explain. These fragments develop through dyed and painted fabric, laser-cut wood, and ceramic works, tracing uncertain relationships between spoken memory, landscape, events, and material traces.

Across the practice, listening, reading, writing, rewriting, and material transformation function as interconnected processes. Rather than translating speech into a single fixed meaning, the work allows misunderstanding, mistranslation, repetition, and incompleteness to remain. The practice considers how language changes as it passes between people, generations, places, and materials.

From September to October 2026, Da Yee is based at ACENTRICSPACE in Zhujiajiao, Shanghai, continuing research into oral language and its sensory translation within a new linguistic and cultural environment. The current research considers how words that are not fully understood can nevertheless be encountered through gesture, rhythm, tone, repetition, and material surface.

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