My drawings are mostly retrieved from my experiences of working on installation art, that is dealing with space and the transmigration of materials. The drawings are not the sketches of the installations, but reversely they are the 'offspring' of the installations.
I enjoy the repetition gesture - kind of continuity that allows me to put small elements into another totality. Then, the small units reunify, thin lines recompose into another narration.
However, it is not a mass production process, but much more a 'flow' of sentiments and the way to control and arrange the sentiments into a 'creature' which can be endlessly under recreating and reprocessing; as each element/unit is unique - no individual lines are the same. If say, one cannot experience the same river twice, i think also one cannot experience the same line/or dot twice.
From using materials to using lines, they function almost the same.
The series of drawings here, is made under the subject matter of wood and trees. Lines then become more 'tangible' thing, which can create their own 'vocabulary' . But at the same same, i am using lines to speak the most unspeakable language, which is the language of The Nature. I find meaningless for me to just draw directly from the images of trees or wood. However, to think about what the unknown language of The Nature means to us. Therefore, I prefer entering the realm of human psyche, especially through the context of domestic, about living experience, about a house, a window or a lamp.
In those drawing, stains / marks --- is kind of noise/ sound, that is to interrupt the lines the images, and to suggest another layer of movement.
In the latest installation, I collected the pebbles from a beach and categorize them into their colours and texture. Then, I line them up on the floor in a tiny writer's room. For me, it is a very fragile and subtle gesture to recompose the elements (like small dots) into another "unseen and re-discovery" system, that i call it Small and Fragile Language.
Artist Bio / CV
Ma attained her BA (Fine Arts) degree from Royal Melbourne Institute of Technology (RMIT) / The Art School in 2001 and the MA degree in Feminist Theory and Practice in the Visual Art University of Leeds, UK in 2002. She received the FCO Chevening University of Leeds Scholarship from the Hong Kong Arts Development Council in 2001. Her work has been included in the Hong Kong Biennial and collected by the Hong Kong Heritage Museum. In 2007, she stayed at The Åland Archipelago Guest Artist Residence for six-weeks, where she started her practice on drawing. She has been awarded a twelve-month fellowship ( Lee Hysan Foundation Fellowship) from Asian Cultural Council to take part in residency program, attend courses and observe developments in contemporary visual arts in the United States in 2008-2009.
In 2008 June to Sept, she was in the residence program of The Headlands Center for the Arts, in San Francisco Bay Area.
In 2008 Sept to Jan, she is in another residence program of Location One, in New York City.
And, she is going to stay in US until June 2009.
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