132990-0-U61666-F.jpg
132990-0-U61666-F.jpg

Yiyi Wang | Sacrifice

£1,000.00
Mokuhanga On Kozo Paper
Edition of 10
Dimensions (WxH): 35.5 x 24cm

I am a New York–based artist working through printmaking, installation, and material experimentation. My practice explores disappearance as a form of transformation, investigating how images shift in response to environmental conditions and how systems of visibility shape perception. Using traditional printmaking alongside responsive materials—including thermochromic and UV-sensitive pigments—I create works that appear, fade, or transform through light, heat, and viewer interaction. My work examines how power shapes speech, historical narratives, and collective memory. While informed by my experience growing up in China, I see these structures as extending across many political and cultural contexts. Rather than making direct statements, I create spaces where viewers encounter absence, uncertainty, and the quiet persistence of memory. Through this approach, I reimagine printmaking—often associated with permanence—as a mutable, living medium. Images emerge and recede instead of remaining fixed, suggesting that disappearance is not simply loss, but a space for reflection, resilience, and hope. I received my MFA in Printmaking from the Rhode Island School of Design and am currently based in New York, where I work as a Printmaking Technician at Princeton University.
Mokuhanga On Kozo Paper
Edition of 10
Dimensions (WxH): 35.5 x 24cm

I am a New York–based artist working through printmaking, installation, and material experimentation. My practice explores disappearance as a form of transformation, investigating how images shift in response to environmental conditions and how systems of visibility shape perception. Using traditional printmaking alongside responsive materials—including thermochromic and UV-sensitive pigments—I create works that appear, fade, or transform through light, heat, and viewer interaction. My work examines how power shapes speech, historical narratives, and collective memory. While informed by my experience growing up in China, I see these structures as extending across many political and cultural contexts. Rather than making direct statements, I create spaces where viewers encounter absence, uncertainty, and the quiet persistence of memory. Through this approach, I reimagine printmaking—often associated with permanence—as a mutable, living medium. Images emerge and recede instead of remaining fixed, suggesting that disappearance is not simply loss, but a space for reflection, resilience, and hope. I received my MFA in Printmaking from the Rhode Island School of Design and am currently based in New York, where I work as a Printmaking Technician at Princeton University.