Graphic art and Mixed Media
Ma Hui, born in Chengde near Beijing, spent the past 22 years in Europe, first in Geneva, Switzerland and after that in Amsterdam. From here she pursues an international career as a well established artist. She exhibits her work regularly with Galerie Piet Clement and during the international art show Art Amsterdam. Abroad she participates in several annual events, Art Singapore, Shanghai and Fine Art Asia in Hong Kong. Her etchings are part of The Tolman Collection (New York, Singapore, Tokyo, Hong Kong).Etchings adorned with mixed media are her specialty. Her first catalogue was titled Childhood Memories, a reference to the period she spent in a re-education village in Ningxia province, as a young child, during the Cultural Revolution (1966-1976). Impressions of the Yellow River, visits to the semi-deserts of Ningxia, Inner Mongolia and the Tibetan plateau, typify an extensive oeuvre. China and more especially ancient China inspires her to this very day.
She adds red string, rope coils, pieces of wire, rusty keys and chains to her etchings. Antique photos of old doors are sometimes used, providing a decorative background. In her latest work in this catalogue Dancing in 3D she merges different techniques and material. Paper, ink, embroidery, calligraphy, these are all used in a wide range of contrasting combinations, creating a unique tension. Often they represent an inner duality that has shaped many of her generation, living outside China. But as always the wondrous collages of the past dominate her creativity.
Dancing in 3D
What we see is a projected image in the confines of a work of art. This personal projection invites outsiders unashamedly into a very private world, the realm of a professional, who is unavoidably bound by restrictions of space and time. How deeply impressive can this image on a flat surface be? In the hands of an artist the possibilities seem endless, yet there is always this cadre, this framework. Ma Hui is trying to break through the borders of this limitation by introducing an extra element in her latest graphic art: Dancing in 3D.
To her, graphics represent a familiar technique, close to home, close to her heart. In the past two decades she has learned to patiently toil with etching press and paper, while perfecting her technique. Through the years she has achieved her own mark of excellence. Ma Hui particularly likes the physical side of working with fluids on paper and the way they change form, shape and texture. She also enjoys the manual side of creating art. By applying force to turn the wheel, a working day long, Ma Hui also pushes personal limits of pain. Her class room size etching press, the biggest one she could find in the low countries, often resembles a monster ready to conquer. The machine provides the means to a splendid goal. What counts is the final reward.
Working with dry needle, with acid on zinc plates, it is one of her favourite ways. Because it enables her to create slowly in stages to an extent that it allows nature to go her own way while never knowing exactly what will be the end result. The artist is never fully in control, this technique leaves room for the unexpected. It expands the creative process, assists the artist to indulge in fantasy and imagination on the road to a private dream world.
For Ma Hui nature is the source of vital energy, nature inspires her experiments in art. It is not simply an external manifestation, it is equally an inner experience, an inner adventure.
The French critic François Gonse wrote in Le Petit Journal about Ma Huiís graphic works in lyrical prose: ëOne senses how sadness and pain have found a gentle exit. Lines connect, with the use of the colour red, bringing rice paper to life. Life is a circle, she says, you go back to were you came from. To commence and never end - it is this perfect state of mind aspired by Zen Buddhists that Ma Hui loves about the creative process (Ö) Ma Hui, an adult but blessed with a young childís vision, often adds keys to her graphics. It is poetry sealed on paper. She provides a direction, a lead to follow. She expresses herself in the typical vocabulary of childhood memories: 'The wind battles with trees, grey grazing grounds on the banks of the Yellow River, the yellow earth, a single red dot in the sky, I see lines to the horizon that do not move, broken memories, rapids in the stream, this never ending road'
Ma Hui explains: 'To me drawing a line in space creates an illusion, it creates tension on a flat piece of paper. The dialogue between form and texture is important to me. A line may change the value of things, or at least bring an illusion of change. A line may break or bind the energy of the paper it is drawn on. A line represents gender and change of identity. A line is real or imaginary. A line is sensitive and sharp. A line will guide the way through a process'
'Why it is important to add an extra element in 3D to this magnificent adventure? To create a concrete situation that will ultimately further develop. This is the main reason for applying mixed media. Adding a red woolen threat, a wire or a piece of string, not only brings a new dimension. It changes the identity of the creation as well. Three dimensions instead of two add structure and contrast. It makes the image tangible, it makes it possible to touch, to feel the difference in material. It is the character and texture of conflicting matter, interacting in an elegant dance. Using mixed media resembles a cross-over in art between two different cultures, West and East. Bringing them together results in development of a whole new situation. This is a source of sheer excitement to me. I enable forms to coexist, creating a dialogue between different dimensions and different structures in silent movement'
Willem Offenberg
Art-mediaconsult
Ma Hui, the person
I first discovered Ma Huiís absolutely unique work in a gallery in Amsterdam on one of those busmanís holiday walk around to many galleries which is my custom where ever I travel. The works jumped off the paper with their naive charm, and professional construction. Certainly this was a new, appealing, even arresting experience for me, a dealer of 35 years standing. I instantly figured out from her name that Ma Hui is Chinese and when I found out that she lived in Amsterdam I made it a point to seek her out and see what made her works tic.
From the very first meeting in her large, well equipped studio which would be the envy of most Japanese artists with whom I work, I seemed to feel that I already knew this outgoing, friendly, funny person. Our meeting was both jovial and productive. I learned that she was from Beijing, and that she had lived in Holland for 30 years. Ma Hui was charming and cheerful, willing to answer each and every question, making her artwork all the more appealing. Excusing myself to go to the menís room I immediately decided to buy for myself the small painting I found hanging there. Ma Hui, the epitome of generosity was determined to present it to me, but in a wonderful first dealer/artist moment we decided that if I bought one, then she would give me the other one. We were quite pleased with ourselves for reaching such a decision, and a bond was instantly forged. Following contact between my Tokyo/Shanghai base and her Amsterdam location werenít easy, but soon visits in person to her studio resulted in several exhibitions in Singapore and Shanghai.
Perhaps we could say that the Singapore Art Fair was the best, since Ma Hui came to the show itself and it was on this occasion that we really got to know each other. Through the great kindness and limitless generosity of our Singapore partner, Marjorie Chu, doyenne of contemporary art in that country, we were all invited to stay at her home during the festivities of the ARTSingapore event. At Mrs. Chuís table, where wonderful food appeared and unlimited drink flowed, we found the innocent and playful Ma Hui could sing, joke, and be serious all at the same time. In these few days, Ma Hui became a member of our group, the international Chinese/Dutch aspect of her personality became known, and we all found a special place in our hearts for our new friend. During the art fair I found Ma Hui always willing to explain every detail of her work, and answer the questions of the many who had never before seen work like hers. The exhaustion that accompanies art fairs was easily overcome in the presence of the positive and cheerful Ma Hui.
I have also enjoyed the pleasure of Ma Hui and her husband in Tokyo when it seemed as though relatives had come to visit. We are now looking forward to showing her work at our new gallery in Hong Kong to an audience who has not had the pleasure of the artist, and of course her wonderful new work.
Norman H. Tolman
Tokyo
October 2010
2010
Galerie Piet Clement (solo exhibition), Amsterdam
Alien Project, (group) Amstelveen
Triennale, Cobra Museum (group), Amstelveen
Art Singapore (group), Singapore
Fine Art Asia (group), Hong Kong
2009
Stars of China: Past and Present,
Jan van der Togt Museum
(group exhibition), Amstelveen
Art Amsterdam (solo), Amsterdam
Gallery Piet Clement (solo), Amstelveen
50 x Tibet, Ateliers 2005, Amstelveen
Art Singapore (group), Singapore
The Tolman Collection (solo), Shanghai
Both solo and group exhibitions
in PR of China before 1988
In Taipei, Taiwan:
Gallery Za Shua, Taipei (1996)
In Geneva, Switzerland:
(ICRC) Red Cross,
Centre William Rappard (1989);
Galerie AblodÈ (1989);
(UN) Palais des Nations (1990);
Fondation Butini (1992)
In Denmark:
Galerie Jeling (1993)
In Belgium:
Galerie Kleio, Antwerp (1995)
In The Netherlands:
Singer Museum, Laren, (group 1990);
Galerie díEglantier, Amsterdam (1990, 1992, 1994);
Galerie Brouwersgracht 238, Amsterdam (1991, 1993, 1995);
Aemstelle Museum Galerie, Amstelveen (1998, 2001, 2003);
Westfries Museum, Hoorn (1999);
The Gallery, Laren (2000);
Grafiek Nu (1998 and 2000);
Canvas International, Amsterdam (2001);
Kunst RAI, Amsterdam (2002);
Art Amsterdam (2008, 2009)
Galerie Piet Clement (2001, 2002, 2003, 2004, 2007, 2008, 2010);
World Art Centre, Delft (2003, 2004, 2009)
在三维中舞蹈
就艺术作品而言，我们看到的不过是一幅投射的意象。这样的个人式投射将人坦率地带入一个非常私密的世界，一个不可避免地被时空禁锢的艺术家的王国。那么平面上呈现的意象能够给人以多么深的印象呢? 艺术家的手似乎能赋予无限的可能，但我们仍然在这个被条条框框绑架的世界中。在马蕙的最新版画作品《在三维中舞蹈》中，她通过引入一些特别的元素来尝试打破这些限制。
对于马蕙，版画是一种亲切、自然的、贴近她内心的技巧。在过去的20年来，她耐心地对着丝网印刷机和蚀刻纸精耕细作，同时也在日渐完善她的技巧。经过多年持续不断的努力，她已经取得了不俗的成就。对于色彩在纸上的流动，它们的形式、形状和质感变化这些物理转变，马蕙情有独钟。对于艺术创作过程中的手工劳动，她同样也乐在其中。她的工作室里有一台教室大小的丝网印刷机，这是她在低地国家找到的最大型机器。它就像一个随时准备征服的怪兽，操作这样的设备，一天下来，马蕙在不断地挑战疲痛的极限。但这种设备可以完成炫目的作品，与最终的回报比起来，身体上的疲劳就不值得一提了。
她最喜欢的创作方式之一就是用擦去水分的针沾着酸液在锌板上创作。这样她可以将作品分开多个阶段，放慢创作的节奏，任由自然这一神秘力量融入创作中，将结果完全交给未知。她从不试图全力控制，正是这种技巧给作品留下了无数可能的空间。这种方法丰富了创作过程，艺术家自由自在地沉浸在幻想和想象中，直达其个人的梦幻世界。
马蕙认为大自然是最为重要的力量源泉，激发她在艺术上进行各种探索。自然不仅是外在表现，也同样是内在体验和冒险。 法国评论家FranÁois Gonse曾在法国的《小日报》上用如诗般的散文这样描述马蕙的版画作品：“你可以感受到悲伤和痛苦得到了温柔的解脱。一丝丝红色的线条，赋予了这宣纸多彩的生命。她说道，生命就是一个循环，你终将回到起点。一旦开始，永无止境——这是禅宗追求的理想心灵境界，也是马蕙钟爱创作过程的缘由(⋯)。马蕙，一个带有孩童般无邪视野的成年人，常常在她的版画上加上钥匙。这是一种诗意的表达，似乎是在指明方向，引导着你追随。她用童年记忆里的词汇向我们这样诠释她自己:：“风掠过树林，黄河两岸灰蒙蒙的牧草地，黄土地，天空中孤独的红点，我看到地平线宁静安详，那些记忆的碎片，川河中的急流，这无穷无尽的路⋯⋯”
马蕙是这样解释的：“对我而言，在空间中划过的线条生成了一种幻想，在平展的纸片上生出了张力。形式和质感间的对话对我很重要。线条可以改变事物的价值，至少也会带来改变的错觉。画在纸上的线条，可以撕裂也能凝聚它的能量。线条代表性别和身份的变换。线条是真实的同时也是虚幻的，那么的敏感而尖锐，在此过程中，线条将导引着我。”
“为什么在这个瑰丽的冒险中额外加上三维元素是如此的重要？这将会创造出一种最终会继续发展的稳固状态。这也是我使用混合媒介的主要原因。加入红色毛线，一段金属线或者细绳，不仅仅是增加的空间的维数，也改变了创作的特性。 三维代替两维，强化了空间感和对比性。我们可以感知图像，触摸它，感受材质的差异。这是冲突的特性和神韵，在优雅的舞蹈中交织纠缠。运用混合媒介就像艺术在东西方两种不同文化中的跨界。混合终将催生一种全新的状态。 这给我带来一种纯粹的刺激。我将各种形式共存一体，在不同的维度和架构间悄然无声地创造了一种对话。”
Willem Offenberg
艺术媒体顾问
马蕙-我们的相识
我有一个习惯，那就是每次旅行总喜欢去当地的画廊转转。在一个有名无实的假日，我去阿姆斯特丹，在当地的一间画廊中发现了马蕙的那些非常个性的作品。她的作品画工精湛，然而又带着童真般魔力，跃然纸上，令人印象深刻。面对她的作品，即使对于当了35年画商的我而言，也无疑是一种前所未有的、令人心动的体验。从她的名字，我立即就判断出她是中国人。当我知道她就住在阿姆斯特丹时，我立即决定去拜访她，探究一下究竟是什么让她创作出如此富有冲击力的作品。
我在她的画室第一次见到了她。她的画室非常大，里面的设备异常齐备，如果和我合作的那些日本艺术家看到，多数会嫉妒得要命。我马上就感觉到她是一个外向、友善并且相当有趣的人，好像早已认识的故友。我们的会面非常愉快，而且颇有成果。从聊天中，我了解到她来自北京，在荷兰已经住了三十年。马蕙是令人着迷和愉快的人，非常乐意回答每一个问题。这种个人特质渗透在她的艺术中，使她的作品更加吸引人，以至于我在聊天的空隙去洗手间时就立即决定为自己买下一幅挂在墙上的小画作。马蕙是如此的慷慨，决意要把它作为礼物送给我。但作为画商和画家交流片刻之后，我们都感到这是一个美好的开端，最后我们达成了默契：如果我买下那幅作品，她将送给我另外一幅作为礼物。对于这样的结果我们都感到愉快，友谊的纽带马上建立了起来。后来，尽管我的大本营在东京和上海，与远在阿姆斯特丹的马蕙联络不是很方便，但不久后我又亲自去她的画室拜访了几次，后来我们就共同合作在新加坡和上海为她举办了几次个展。
或许可以说新加坡艺术展是最棒的，因为马蕙来到了展厅现场，也正是在那时，我们才真正开始了解对方。我在新加坡的合作伙伴Marjorie Chu, 是新加坡当代艺术界的老前辈。她热情慷慨地邀请我们去她家做客，因此我们在整个新加坡艺术博览会期间都住在她家。在Marjorie家的餐桌上，总是摆满了各种各样的美食和饮料，我们发现天真无邪而活泼爱玩的马蕙不仅仅能唱歌、讲笑话，而且还能深刻地探讨各种严肃的话题。在那些短暂的日子里，马蕙成了我们中的一员，我们熟悉了她那融合了中国/荷兰文化因子的国际化个性，并且都发现这位新朋友已经俘虏了我们的心。在整个艺术展期间，我发现她总是非常乐意地向我们解释她的作品的每个细节，对于那些从未观赏过像她那样的作品的人，她总是非常耐心地回答他们的每个问题。艺术展期间的琐碎疲劳也因为马蕙的快乐陪伴而被我们抛之脑后。
马蕙和她的丈夫去东京时，我们也见过一次面，那次小聚就像亲戚走访一样熟络愉快。目前我们正筹划在香港新开的画廊中展出她的作品，对于那些从未感受过她的快乐魅力的观众，这无疑是一次难得的机会，当然更是观赏她的精彩新作的心动时刻。
Norman H. Tolman
东京
2010年10月
展览简历
2010年
皮德克里门特画廊，阿姆斯特丹，个展
群体项目-星外来人展
考布拉博物馆群展
新加坡艺术联展
香港亚洲艺术联展
2009年
中国之星群展 约翰。冯。德道歌 博物馆
荷兰艺术双年展 （ 个展 ） 克里蒙特画廊
50年西藏个展
新加坡艺术联展
上海道乐蒙特画廊个展
1988 在中国多次举办个展, 群体展览
1996 台北再轩画廊个展
1989 瑞士日内瓦
国际红十字会，国际贸促会，阿布劳特画廊，联合国总部大厦，布德尼基金会个展
1993 丹麦 叶林画廊个展
1995 比利时 克里约画廊 个展
1990-2009 荷兰
里格博物馆 拉恩市 1990
布饶沃 画廊 阿姆斯特丹 1991, 1993, 1995
依格朗叠 画廊 阿姆斯特丹 1990, 1992, 1994
阿姆斯特 画廊 博物馆 1998, 2001, 2003
外斯特佛里斯 博物馆 1999
荷兰现代版画展 1998-2000
中国现代艺术画廊 2001
阿姆斯特丹艺术博览会 2002, 2008, 2009
克里蒙特 画廊 2001, 2002, 2003, 2004, 2007, 2008, 2010
世界艺术中心 德里佛特 2003, 2004, 2009
马蕙出生在位于北京附近的承德市，她在欧洲已经生活了22年，先是住在瑞士的日内瓦，后来移居到阿姆斯特丹。她在欧洲开始向国际知名艺术家的目标奋斗。她定期地在Galerie Piet Clement和阿姆斯特丹艺术博览会展出她的作品，同时也参加一些国外的年展，如新加坡艺术展、上海艺术展和在香港举办的亚洲美术展。她的版画作品也在The Tolman Collection 画廊(纽约、新加坡、东京、香港)展出。
运用混合媒介来装饰版画是她的作品的最大亮点。在文化大革命(1966-1976)期间，马蕙还是一个幼童，她当时曾在宁夏一个作为知青思想改造点的小村子里度过了一段时间，这段经历后来成了她的第一套作品“童年的记忆”的创作源泉。她对黄河的深刻印象和在横亘于宁夏、内蒙古和青藏高原的半戈壁地区的游历经历，成了她广博的作品的典型因素。她的创作灵魂深植于中国，特别是古代中国之中。
她常将红绳、盘条、金属丝、生锈的钥匙和链子等因素加入她的作品。有时她也将旧门上的老照片作为装饰背景。在她最近的系列作品《在三维中舞蹈》中，她又融入了很多不同的技术和材料，如纸张、墨水、刺绣和书法，通过大量地运用这种对比组合创造出了一种极为独特的张力。这些作品常常向世人传达塑造马蕙这一代生活在海外的华人的性格的内心二元性。但同时在她的创作中，我们又总是能看到主导她的创造性的奇妙记忆碎片。