My Clothes, My Life, 2009
“... The work in the exhibition has the strength and maturity that results form a considered use of materials that is congruent with the artist’s ability to work through aspects of her upbringing and background. The attitude of traditional Chinese culture towards the construction of gendered roles is the main premise of this body of work and the direction of the thesis. Altogether and individually each piece expresses the strength of the artist’s feelings and the way in which her past in integrated with her present. And this has been achieved with enough bite and particularity to avoid the negative effects that so often come with a more sentimental approach. The placement of installation of work in the gallery is also thoughtful. Ma clearly indicated a good use of text in the titles to cue or clue the viewer into the cross-cultural nature of the work as it relates to the artist having been raised initially in a Chinese society. ....”
Nola May Farman, Jan 2010
“......The artist has made an original series of clay and mixed media sculptures .... The work is coherent and well made with a close attention to crafting and construction of each work. It is clear that the artworks addressed the problem of childhood memories and the trauma that results from the inequalities for women in Chinese Society. There has been an innovative use of new techniques particular to the project, such as the treatment of the egg and metal works. The series was presented effectively and she (the candidate) has clearly shown development to a high level in terms of understanding the material and mastery of the construction of the thin clay slabs and the particular firing process.... The move to include different media was a conceptually positive one in the context of the project. The artist could have ensured even more coherence in the presentation by allowing this current work to be seen as one whole and mixing up the chronological series with the other work on this occasion. The presentation was of a high standard...”
Jane Gavan, Jan 2010
