Dai K.S.

Artist selected by Moscoso, Manuela at 2010


1. What made you choose art as a profession? 
I didn’t choose art as a profession; it’s not like being a doctor or a lawyer. Managing to make a living from making art isn’t about choosing. I don’t think the concept of choosing really fits here. It’s a bit like being a footballer: a professional football player would say he’d been playing football since the age of five and by the age of eighteen he was in a professional team, being paid. How would he answer this question? He surely wouldn’t say he ‘decided’ to play professionally at the age of five! It’s a similar situation for me: I can’t give a straightforward answer to ‘what’ made me ‘choose’ – and anyway I hate having to choose. 

2. How would you define your work? 
I haven’t the faintest idea. I try to express what I’ve got in my head and be true to myself. I try not to define or set limits to things. 

3. What subjects are you interested in? 
The same subjects as ever (figures, landscapes, still lifes) through painting, drawing and sculpture. I don’t think anyone has ever come up with new subjects or new ways of doing things. There’s just constant revision, rereading, taking subjects to an extreme and mutating the medium, or vice versa. 

4. What resources – formal or otherwise – do you use in your work? 
Anything that adapts to the ideas I want to represent. 

5. What relationship does your work have with reality? What are your raw materials? 
Every piece of work has a clear relationship with reality; all artistic work comes from reality and enriches reality. In my opinion, the essence of the work and the ‘action’ lie somewhere in the grey area between reality and what someone wants to say. I’d also like to think that there isn’t actually a ‘relationship’ at stake here at all, since I don’t see it as a ‘duality’ (I’m using my right to contradict myself). My raw materials are my mind, my eyes and my hands. Everything my hands can touch, everything my eyes can see and everything my mind can think, or everything my mind can touch, my hands can see and my eyes can think… 

6. What, according to you, is the point of art? 
As creators we don’t have to ask ourselves that question. When something becomes ‘art’, we already precede this fact. Whatever use might then be made of this art is out of our hands. 

7. How do you hope the public will receive your work? What audience are you aiming at? 
I don’t have any particular expectations. I’m not aiming at any audience in particular. 

8. What qualifications have you got? What do you value most from your time in education? 
My education is ongoing. What I value most is the people I’ve met and the people I’m yet to meet. The great thing about this profession is that your ‘education’ never ends. 

9. How would you define your current professional situation? And in the future? 
I’d say both my current professional situation and my future expectations are good. 

10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work? 
Economic considerations affect my life, but not my work. I hate it when artists say things like “when I was a student and had no money… and yet now that I’ve got money…” I find it very arrogant; this doesn’t help explain what you’re doing in the slightest. I think you have to adapt your work to your life if you find your life conditions your work. I don’t think there’s any artistic value to a piece that depends on what you’re being paid, unless that’s the case on purpose. So no, I don't think it has a bearing on my work. 

11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships? 
I’ve never looked for or expected a professional relationship with promoters and curators. Nevertheless, I ought to thank Manuela Moscoso for her interest in my work and congratulate her for her project 29 Enchufes. I should also thank Marta from RMS La Asociación for her tireless patience. I can't talk about advantages or difficulties, since as I said above I’ve not looked for them. 

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses? 
At national level, Madrid has excellent artists who have to make ten times the effort they’d have to make in other provinces with a history of bigger and better defined institutional and social resources. However, Arteleku in San Sebastián, for example, is far more effective than any artistic institution in Madrid and is incredibly cost effective for the quality it offers. Madrid’s ill-defined cultural policies mean money is squandered. There’s also the feeling of being a ‘court painter’: Madrid has never really embraced other visions of art outside traditional classical work and the city certainly isn’t a rich source of budding young artists. At international level, Madrid plays in the second division and nothing’s being done about it. It would be nice to have the option of promotion to the first division. Maybe it’s a question of starting too late.



Curriculum vitae

DAI. K. S.
Madrid, 1974.
Vive y trabaja en/Lives and works in: Madrid.

Exposiciones Individuales/Solo Exhibitions
Gang Bang / Big Bang, Espacio F, Madrid.

Olive Eye Gallery, Tokyo.
Dohjidai Gallery of Art, Kyoto.
Galería Ángel Romero, Madrid.

Olive Eye Gallery, Tokyo.

Galería Ángel Romero, Madrid.

Dohjidai Gallery of Art, Kyoto.

Discorder, Madrid.


Exposiciones Colectivas/Group Exhibitions
Dibujando páginas, Galería Columpio, Madrid