MA YINXIN ：LOST IN THE LIGHT
2016. 11. 20 - 2016. 12. 15
Between Art Lab, Beijing
Article: YAN Yuting
I was glad that I saw Ma's works before meeting him in person, because I was able to appreciate his works directly. In fact, I had been trying to clearly explain his works with texts, but any kind of explanation, including conceptual definition, stylized deion, or sociological analysis, is in conflict with the works’ self-existences. However, I was unable to find the linear logics of his works from a cultural identification or an aesthetic theory. The works appear to be in an independent state that extends to me conversely, and the state evokes my diffuse thinkings.
In 2006, Ma YinXin started painting buildings from the 90s in ShenYang, China. For the following decade, he has been working on the same theme. Some people asked, “Why do you keep painting old architectures?”, and I had a similar confusion the first time seeing his works. Gradually, I realized that my original thinking was unable to find the point of coherence. Therefore, I started thinking about the opposite question, “Why not keep painting architectures?” In my opinion, the theme and content of figurative paintings are more to be used as the supports of narratives and emotional expression, but the theme and content of Ma’s painting are exceptionally rational. Ma said, “These architectures were very common in Shen Yang back in 2006, and people didn’t developed too much of nostalgia over the meanings and the representations. But, as the city became more developed and urbanized, these old buildings were no longer existed. People suddenly are nostalgic about the lost.” Ma YinXin’s paintings are not made out of a sociological system, and the repetitive theme also shows his indifference towards extensive signification and symbolication. This method creates a canonical form and becomes the artist’s methodology of moving from a changeable exterior of the world into a painterly interior.
MA Yinxin passes through a method of self-limitation, interlocks the dimension of creativity within a narrow space, and with the method of limitation, controls the expansion of this space. In this space, viewers can discover the connection between ultimate imageries and initial materials. Composition comes primarily. Use first-handed photographic composition and then edit contrastive imageries to establish painterly composition, MA YinXin has gone through a few transitional experiments: from classic Baroque composition to Mondrian grid composition. In this transition, the considerations of the marginality of painting and depiction of angels have direct effects on imagery constitution and graphic performances. Painting, a fairly traditional thinking method, pushes the possibility of composition to a more defined and more accurate level. Once the composition is established, we soon realize that the painterly brushworks, on the one hand, passes through a linear logic to create connections with the composition, and on the other hand, passes through colors and brushworks then pushes the image to a second-handed reality of self-existence. Regarding the expression of lighting, the artist uses the establishment of representation, while creating another objectified reality. The overall image, because of Ma’s self-painterly method of intervening lighting in original images, pushes the meticulous details into the section between reality and non-reality.
“迷阳”取义为“失亡于光亮”，在有关光与影的概念切换中，通过绘画性的“光”将楼体的钢筋水泥注入一种细腻的情感表达，The title LOST IN THE LIGHT has the meaning of dying in bright light. Interchanging between the concepts of light and shadow, the artist uses the painterly lighting to pour a subtle emotional expression into the armored concrete of architectures.这种表达的方式是含蓄的，在现实客体与绘画之间将绘画材料的物质性融入建筑对象的物质性，建立起一座绘画性的“建筑物”，呈现了绘画的物质性的重要意义。此次意义上，如果限制作为一种不可回避的条件，那么在限制条件内，如何呈现深层逻辑与艺术家个体的表达权利成为一个在狭窄的缝隙内的自身生命力，通过对概念的模糊化形成绘画的语言。
This way of expressing is implicit, and it integrates the materializations of the painting materials into the materialization of architecture between an objectified reality and painting, which establishes a painterly architecture that reveals the importance of pictorial materializations. Speaking from this meaning, if limitation is an unavoidable condition, then within the limitation, the question of how to reveal the deep logic and the artist's individual right of expression becomes an autologous vitality that lives in a narrow crack. By living in the ambiguity of concepts, it forms a painterly language. Pp