铜版画 Etching


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
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