白石画廊荣幸宣布亚洲独家代理中国艺术家戴莹，将于11月ART021上海廿一当代艺术博览会首次呈现其作品，并计划于2026年6月在白石画廊北京空间举办艺术家个展。更多展览项目正在筹备中，敬请期待。
戴莹的作品通过螺旋结构、多层染绘、血脉图像、植物母体等形式语言，构建出一套关于能量流动、生命轮回与文化演化的视觉逻辑。
个人经历与视角转变
受父辈经历影响，戴莹自幼接受严格的中国传统书画训练，这使得戴莹具备了中国传统书画的内在气质与技术核心。
父辈的经历赋予戴莹并未把自己局限于女性身份的自述性框架中，而是逐渐将视野扩展到对社会底层的关注和普通人的生存困境中来。这种从“自我出走”到“人类关怀”的转变，不仅体现了戴莹艺术视野的拓展，更反映了她作为一个当代艺术家应有的社会性人文关怀。这种从个人经验和性别视角中走出来，转向对更为广阔的生存空间和社会群体的关注，也是一个从“小我”走向“大我”的过程。
2009年，她进入清华大学美术学院接受艺术培训，在此期间首次系统性接触当代艺术，深受草间弥生独身赴美逐艺术梦精神的启发，2011年，戴莹义无反顾奔向美国纽约曼哈顿开启艺术旅程和艺术家梦想的实现，凭借对中国传统材料的深厚掌握与自发性表达，自由发展出融合生宣、矿物颜料与丙烯等材料的复合媒介创作体系，同时开启对油画媒介的掌握与表达。2017年因父亲病重和去世的原因，戴莹开始频繁往返于北京和纽约，同时期在北京租用工作室，开启在北京的艺术创作工作。
主题拓展与精神维度
从早期对自我身份的凝视出发，戴莹的艺术逐步走向对宏观结构与精神机制的探索。她构建了一种横跨文化语境、融合祖辈记忆与技术现代性的“多时空叙述场”。
其作品中反复出现逆时针螺旋图像——这一母性原型广泛存在于例如史前母神崇拜、凯尔特神话的“彼世之门”、印度谭崔（Tantra，又译坦特罗）哲学体系、自然界的母性原型之中，象征灵魂回归大地子宫、进入轮回与再生的通道。螺旋不仅是视觉元素，更是精神路径。
她认为“荷尔蒙制约”是当代父权结构中隐而未察的生物隐喻，而女性所蕴含的涵容与再生智慧，可在精神层面上重塑社会能量的流动结构。这一思想并非抽象理想，而具体落实于她对中国宣纸多层积染、装置构型与色彩运用的精准控制中，例如螺纹结构、赭红与铁黑及多色彩的配色，均旨在唤起身体与大地的共鸣。
媒介语言与表现形式
戴莹以中国宣纸、油画为核心媒介。戴莹的中国宣纸、绢本作品体现了她超强的材料驯服能力，将生宣、绢本、水墨等东方材料与丙烯、矿物颜料进行二十多层的积染绘画、多媒体装置等西方语汇嫁接，构成复合叠加的视觉结构。她善于利用染料渗透过程中的偶发性，介于可控与失控之间，捕捉潜意识情绪的动态流变。
戴莹的油画体现了她超强的生命力与表达欲，油画颜料的色彩更是她自由表达的灵魂，在创作油画的肢体运动中是她流动的冥想状态，她画的是内心的感觉，是对自由的呼唤和对宇宙生命的链接，这种能量的动感是戴莹青少年时期专业运动员的训练记忆，旋转、拖曳、点戳体现出强大的画面掌控力，她的身体是桥梁，精神是火焰，共同点燃着画布上的光与色。
戴莹作品中的螺旋纹理并非简单图案装饰，而是隐含宇宙母性逻辑的象征性语言。其装置与行为作品常以“仪式感”为起点，通过地面、水体、纺织等要素的布置与激活，触发观者的身体记忆与集体无意识。在色彩系统上，她参考多种古老文化中的祭祀用色：赭红象征子宫血脉与原始生命力，深绿色代表大地的繁殖与守护，铁黑寓意沉潜、孕育与创造的力量。
戴莹 Dai Ying （b. 1983)
出生于中国四川，现居北京与纽约，是一位生活和创作于中西文化之间的跨媒介艺术家。自五岁起接受中国传统书法与水墨绘画的系统训练，她逐步发展出融合东方精神性与当代表达的独特创作语言。
戴莹的代表作品系列包括M-Theory系列、女神系列、地母系列、满愿塔系列、装置《神庙》系列、行为表演《亦无尘可拂》等。她的重要个展包括：中国北京护国观音寺《亦无尘可拂》（2023年）；中国苏州《恍然月白》过云楼文化艺术中心（2023年）；中国北京微斯艺术中心《画画》（2021年）；中国北京今日美术馆《为了忘却的纪念》（2020年）；美国纽约亚洲艺术馆《魔方》（2015年）；重要群展及活动包括：中国香港《Art Central》特邀行为艺术表演、装置、雕塑作品呈现 （2025年）；美国迈阿密《Untitled Art, Miami Beach 》特邀行为艺术表演及装置呈现；中国西安崔振宽美术馆《新写意主义— 第四届中国当代艺术名家邀请展》（2024）；中国上海Young美术馆《穹顶之光》（2023年）；中国景德镇陶溪川美术馆西馆《新青年·第四届学院实验艺术文献展》（2021-2022年）；德国柏林Kommunale Galerie berlin《未来游戏》（2019年）；美国洛杉矶帕萨迪纳会展中心《中国关注》（2016年）；美国巴尔的摩世界贸易中心《愿景共享艺术展》（2015年）。
Whitestone Gallery is honored to announce the exclusive representation of Chinese artist
Dai Ying in Asia. Her works will make their debut with the gallery at ART021 Shanghai Contemporary Art Fair this November, followed by a solo exhibition at Whitestone Gallery Beijing in June 2026. Additional exhibition projects are currently in preparation.
Bei Wan, Director, China & Area Manager, Singapore, Whitestone Gallery remarks: “We are truly honored to exclusively represent Dai Ying in Asia. Her practice, rooted in a profound female perspective and articulated through a cross-cultural visual language, unfolds a distinctive narrative about life, energy, and the cycles of spirit. This ongoing pursuit of exploration and innovation deeply resonates with Whitestone Gallery’s enduring philosophy of ‘maintaining a spirit of reform and creativity.’ We greatly look forward to introducing her work to collectors and art enthusiasts across Asia and around the world.”
Dai Ying (born in 1983 in Sichuan, China), currently based in Beijing and New York, is a cross-media artist living and working between Chinese and Western cultures. From the age of five, she received systematic training in traditional Chinese calligraphy and ink painting, gradually developing a unique artistic language that integrates Eastern spirituality with contemporary expression.
Dai Ying’s artistic practice is deeply rooted in reflections on female power and geopolitical identity. Through layering of media, hybridization of materials, and symbolic structures, she explores the hidden connections between contemporary social frameworks and the cosmic logic of life. She has proposed the conceptual system of the “Geo-Maternal Matrix,” advocating that women’s art should go beyond the pursuit of basic rights toward a constructive spiritual genesis that achieves a higher dimension and broader scope of feminist power. In her work, geo-maternalism is not merely a symbol but also a methodology—characterized by inclusiveness, nurturing, and cyclical patterns—which she transforms into a new visual order.
Chinese xuan paper, Silk, Stainless steel, Cotton, Chinese pigments, Cinnabar, Ceramic pot, Lamp, Water
Through spiral structures, multi-layered dyeing and painting, imagery of bloodlines, and botanical matrices, Dai Ying constructs a visual logic centered on the flow of energy, the cycles of life, and the evolution of culture.
From an early age, Dai Ying received rigorous training in traditional Chinese painting and calligraphy, endowing her with both the inner temperament and technical mastery of this art form.
Her father’s journey instilled in Dai Ying an outlook that did not confine herself strictly within the self-referential framework of female identity. Instead, her vision gradually expanded to include a concern for marginalized groups in society and the struggles of ordinary people. This shift—from “departing the self” toward “humanistic care”—reflects not only the broadening of her artistic perspective but also embodies the social and humanitarian consciousness that defines her as a contemporary artist. Moving beyond personal experience and gendered viewpoints, she has increasingly turned her focus toward broader existential spaces and social groups—a journey from the “individual self” to a “collective self.”
Chinese pigments, Japanese pigments, acrylic paint, Chinese xuan paper
In 2009, she entered the Academy of Fine Arts at Tsinghua University for art training, where she first systematically encountered contemporary art. She was deeply inspired by Yayoi Kusama’s spirit of venturing alone to the United States to pursue her artistic dreams. In 2011, Dai Ying resolutely set off for Manhattan, New York, to embark on her artistic journey and to realize her ambitions as an artist. Drawing upon her profound mastery of traditional Chinese materials and her spontaneous mode of expression, she freely developed a mixedmedia creative system that integrates Rice paper, mineral pigments, and acrylics, while also beginning to explore and master the medium of oil painting.
In 2017, due to her father’s severe illness and subsequent passing, Dai Ying began traveling frequently between Beijing and New York. During this period, she rented a studio in Beijing and commenced her artistic practice there.
Beginning with an early focus on the contemplation of her own identity, Dai Ying’s art has gradually evolved toward an exploration of macro-level structures and spiritual mechanisms. She has constructed a “multi-temporal narrative field” that traverses cultural contexts, integrating ancestral memories with the technological modernity of today.
A recurring motif in her works is the counterclockwise spiral—a maternal archetype widely present in prehistoric goddess worship, in the “gate of the otherworld” of Celtic mythology, in the philosophical system of Indian Tantra, and in the natural world’s maternal symbols. It signifies the soul’s return to the earth’s womb and the passage into cycles of reincarnation and rebirth. The spiral is not merely a visual element, but also a spiritual path.
She believes that “hormonal conditioning” is a hidden biological metaphor underpinning contemporary patriarchal structures, while the inclusiveness and regenerative wisdom inherent in women hold the potential to reshape the flows of social energy on a spiritual level. This idea is not merely an abstract ideal but is concretely embodied in her precise control of techniques such as multi-layer dyeing on Chinese Rice paper, the configuration of installations, and the use of color. For example, spiral structures, the palette of ochre red, iron black, and polychromatic combinations are all intended to evoke a resonance between the body and the earth.
Dai Ying works primarily with Chinese Rice paper and oil painting as her core media. Her works on Rice paper and silk demonstrate her exceptional mastery over materials, skillfully integrating Eastern materials such as raw Rice paper, silk, and ink with Western vocabularies like acrylics, mineral pigments applied in more than twenty layers of accumulated dyeing and painting, and multimedia installations. This results in complex, layered visual structures. She adeptly harnesses the element of chance during the seepage of pigments, navigating the space between control and unpredictability to capture the dynamic fluctuations of subconscious emotions.
Dai Ying’s oil paintings reveal her extraordinary vitality and powerful drive for expression. For her, the colors of oil paint are the very soul of free artistic articulation. The physical movements involved in creating her oil paintings become a state of flowing meditation, through which she paints her inner sensations—a cry for freedom and a connection to the cosmic vitality of life. The dynamic energy inherent in her paintings is deeply rooted in her memories of rigorous training as a professional athlete during her youth. Gestures such as spinning, dragging, and dabbing reflect her formidable command over the pictorial surface. Her body becomes a bridge, her spirit a flame, together igniting light and color on the canvas.
The spiral textures in Dai Ying’s works are not merely decorative motifs but serve as symbolic language, embodying the maternal logic of the cosmos. Her installation and performance work often begin with a sense of “ritual,” using elements such as earth, water, and textiles in their spatial arrangements and activations to evoke bodily memories and the collective unconscious in viewers.
In her color system, she draws inspiration from ritualistic palettes found in various ancient cultures: ochre, red symbolizes the womb’s lifeblood and primal vitality; deep green signifies the fertility and protection of the earth; iron black conveys the forces of depth, gestation, and creation.
Born in 1983 in Sichuan, China, currently based in Beijing and New York， is a cross-media artist living and working between Chinese and Western cultures. From the age of five, she received systematic training in traditional Chinese calligraphy and ink painting, gradually developing a unique artistic language that integrates Eastern spirituality with contemporary expression.
Dai Ying’s representative works includes: M-Theory series, Goddess series, Geo-Maternal series, Boudhanath Stupa series, installation series Temple, performance art piece No Dust to Be Wiped.
Her important exhibitions include: NO Dust to be Wiped, Huguo Guanyin Temple, Beijing, China (2023); Suddenly Moon White, Guo Yunlou Cultural and Art Center, Suzhou,
China(2023); PAINTING, VIS ART CENTER, Beijing, China (2021); In Memory of Forgotten, Today Art Museum, Beijing, China (2020); Magic Cube, Asian Fusion Gallery, New York, United States (2015).
Her work has appeared in numerous group exhibitions, including: Art Central, Special invited performance art and installation presentation, Hong Kong (2025); Untitled Art Miami Beach, Special invited performance art and installation presentation, Miami, United States (2024); Chinese Morphological Expressionism – The Fourth Invitational Exhibition of Chinese Contemporary Art Masters, Cui Zhenkuan Art Museum, Xi’an, China (2024); Dome Light, YOUNG Art Museum, Shanghai, China (2023); New Youth: The 4th Academic Experimental Art Documenta, Taoxichuan Art Museum, Jingdezhen, China (2021-2022); Future Games, Kommunale Galerie, Berlin, Germany (2019); China Art Exposition Tour, Pasadena Convention Center, Los Angeles, United States (2016); US Share of Vision, World Trade Center, Baltimore, United States (2015).