Rahee Yoon
首尔设计师和艺术家Rahee Yoon，自2017年起开始经营自己的工作室，以探索不同材料特质的实验性作品而闻名。她涉足金属、纺织、陶瓷与手作等，一直以来，使用亚克力创作了一系列有着识别度的艺术作品，并与知名建筑事务所WGNB、LABOTORY等建立合作关系。
Scoul-based designer and artist Rahee Yoon, who has been run-ning her own studio since 2017,is renowned for her experimen-tal works exploring the characteristies of diferent materials.She has ventured into metal, textiles, ceramies, and handicrafts.Norably, she has created a series of distinetive art pieces usingacrylie and established collaborations with renowned architec-rural firms such as WGNB and LABOTORY.
她的每件作品都有着微妙之美的独特呈现，将材料的原始特征与偶然获得的效果融合在一起，从而产生了不稳定的但又十分直观的视觉表现。这种超越既有边界的作品通过沉稳而灵动的形式，以简单又含蓄的方式表达自己真实的内心情感。
Each of her works presents a unique display of subtle beauty,seamlessly integrating che raw features of che materials wichserendipicous outcomes, This results in visually striking yet un-stable expressions that ranscend conventional boundaries.Through composed and dynamie forms, her works convey genu-ine inner emotions in a simple yet profound manner.
- Art: Rahee Yoon
- Photos: Sooin Jang
您是什么时候开始接触亚克力的，又是怎样的缘由，决定以亚克力为创作材料的？
When did you first encounter acrylic, and what led you to choose it as your creative material?
在2017年之前，我做了大约8年的自由展示设计师，亚克力成为我在此时接触的主要材料。之后对它的探索和未来可能性的实验研究构成了我目前艺术工作的主要部分。
Before delving into my main body of work in 2017, I spent around 8 years as a freelance display designer. Acrylic was the predominant material I worked with during that period. The ongoing exploration of how to enhance this material and the continual consideration of future experiments constitute integral aspects of my current artistic process.
在具体的实践中，当我专注于材料本身的研究时，我有意避免将“亚克力”作为一种简单的物质来对待。尽管发展至今不足百年，但生活中它的身影却无处不在。与固有的认知相反，我更注重对其在实际工作中所展现出的特质变化，比如“微妙地偏离”、“深层重叠”或“逐渐变得不透明”。
In practice, I deliberately distance myself from the term 'acrylic' as a noun while engrossed in my work with this material. Despite acknowledging its less-than-100-year history and its prevailing image, I make a conscious effort to momentarily set these aside. Instead, I concentrate on the adjectives and verbs that arise when working with acrylic, such as 'subtly deviates' 'deeply overlaps' and 'gradually becomes opaque'.
作品中呈现出的诸如模糊、扩散、渗透、留白等美学感受，是否跟您特定的文化背景有关？
Aesthetic elements in your works, such as blurring, diffusion, permeation, and blank space, are they related to your specific cultural background?
处理不同作品的表面时，我尝试在细节之中表达透明的特质，比如于粗糙与光滑之间变化的肌理，凝聚之后又柔和地晕开的色彩。对我来说，创作的本质在于对立性的呈现，以及对立元素的转换。我试图以一种简单的方式来捕捉这种复杂性。
The surface of my work delicately embraces transparency, textures oscillate between rough and smooth, and colors gather before gently dispersing. For me, the essence of the creative process lies in contrast, involving an interchange of opposing elements. I strive to capture this complexity in a simple manner.
所以，由此产生的视觉效果，如模糊和扩散，并非有意为之。在我看来，韩国文化中本身也体现了这种对立性。它质朴而又精致，粗糙而又光鲜，刻意而又偶然，尖锐而又美丽。
The visual effects, such as blurring and diffusion, that arise from this process are not intentional.To me, Korea also embodies contrast. It is both rustic and refined, rough yet polished, deliberate yet accidental, and sharp yet beautiful.
对您来说，产品本身的叙事性先于功能而存在吗？
For you, does the narrative of the product exist before it’s functionality?
我的创作通常从一个模糊的叙事概念或图形符号开始，然后尽可能地确保其完整地贯穿于整个创作过程中，直至作品的完成。
I begin with a vague narrative or image and make an effort to sustain its presence throughout the entire creation process until the work is complete.
“Time Block”的创作灵感是什么？
What was the inspiration for 'Time Block'?
“Time Block”是一系列的作品，巧妙地捕捉了一艘水下沉船场景中所呈现的形态与色彩，也被称之为“时间胶囊”。“Block”系列通过将人工染色的亚克力片巧妙地置于透明块体内，塑造一种平静之感，并富有活力。而在“Time Block”中，则是将高丽青瓷的色泽、青瓷的绿釉、白瓷的渐退色调以及陶罐风化之后的褐色等水下文物的颜色进行重新演绎。
'Time Block' is an object series delicately capturing the forms and colors observed in the underwater landscape of a sunken ship, referred to as a 'Time Capsule.' The 'Block' series is a collection where hand-dyed acrylic pieces are subtly enclosed within transparent blocks, creating a serene vibration. In 'Time Block' the colors of underwater artifacts, such as the shade of Goryeo Dynasty celadon, the green glaze of the celadon prop, the faded hue of white porcelain, and the weathered brown of a pottery jar, are encapsulated.
目前进行的工作中，最具实验性或进化意义的项目有哪些？
Among your current projects, which ones are the most experimental or significant in terms of evolution?
受洛杉矶的一家画廊委托，我目前正在进行一个可供批量生产的桌子项目。这是我迄今为止负责数量最多的项目，据我所知，全球只有3-4家工厂能够达到这种生产规模。尽管已经尝试了6次，但暂未取得成功。虽然它的完成需要凭借先进的技术，但最重要的是取决于技术人员的心态，以及画廊和客户表现出的理解与耐心。我相信这种进化意义的前提是来自于相互的配合与诚意的等待。
I am currently working on a table project commissioned by a gallery in LA. This is the largest project I have undertaken so far, and I've heard that only 3-4 factories worldwide are capable of producing something of this scale. Despite six attempts, the project has not been successful yet. While the success of this table and any technical advancements are important, what truly matters is the attitude of the technician attempting to complete this task, along with the understanding and patience shown by the gallery and the client. I believe the conditions for evolution arise from this collaboration and willingness to wait.
