Biography

 

Dahye Kim is an interdisciplinary artist, researcher, and educator. Her research explores the idea of time, memory, environment, and scientific theory through various digital and experimental intermedia utilizing color, light, movement, and installation. Kim has been exhibited nationally and internationally at venues such as CICA Museum, Redline Contemporary Art Center in Colorado, Pensacola Museum of Art in Florida, Macy Art Gallery at Columbia University, NY, Crossroad Gallery, Phyllis Gill Gallery, Smith Learning Theater & Manhattan Bridge in New York City, and DNA Galerie in Berlin. She received the Myers Art Prize for her video installations at Columbia University in 2016, 2018, and 2019. In professional practice, she has also curated and organized diverse themes of contemporary exhibitions and art educational events. She organized a collaborative art event in 2018 at Columbia University to discuss and share studio art teaching preparation, pedagogy, and practice between faculty and graduate art students in New York City. In 2019 she also curated an event that combined the technology-infused art exhibition and the symposium for discussion around art, technology, and the educational environment in the 21st century. Kim earned a Doctoral Degree in Art and Art Education from Columbia University, New York City, a Master of Fine Arts from Art Center College of Design, Pasadena, California, and a bachelor’s degree from the University of California. She is currently a Professor of Digital Arts at Florida SouthWestern State College.

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‘Nautical Twilight’, 2024 Statement by Dahye Kim

 

“Nautical Twilight (in Sanibel)” begins with a journey driving along the Sanibel Causeway, surrounded by ocean and passing a landscape of palm trees, leading to the unique architectural setting of the gallery. The artwork may already be seen from afar with a soft glow through the gallery doors and windows, reminiscent of a distant view from a boat. This initial encounter sets the tone for an experience filled with uncertainty and discovery, as the artwork slowly reveals itself through patterns and shapes of color reflecting on the architectural surfaces and gallery walls.

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The landscape of this installation—vast and seemingly empty—becomes a canvas for dreams, imagination, and memories, all captured in the interplay of light and color. “Nautical Twilight” is more than just an artwork to be viewed; it is a journey that invites personal exploration. The shimmering reflections and shadows created by the viewer themselves define the outer limits of the work, making them an integral part of the artistic experience. As they move through the space, their shadows travel alongside them, intertwining with the slow, deliberate movements of color. This evokes a sensation akin to walking along the ocean at sunrise or sunset, where time feels both fluid and infinite.

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In this piece, I wanted to explore the quality of time, expanding it beyond video and film into the gallery’s physical space, and invite viewers to engage deeply with the present moment, experiencing the subtle poetry of light and color in an environment that is constantly transforming around them. The essence of this work lies in its ability to make time tangible. As viewers navigate the space, they witness the ever-changing colors of light, mirroring the passage of time and fostering a deep sense of presence. The colors in my work are not merely aesthetic choices: they evoke emotions, set tones, and influence perceptions, much like the narratives of memory. By creating a flow of time through color, I hope viewers will contemplate the present moment and reflect on their own memories within the space of my installation.