Ma as a artwork is asking the question of whether all we see is all we are. It references the historical concepts of the Sublime, in terms of a confrontation with the grandness of an abstract technological interpretation of nature. It is a place beyond regional and cultural boundaries. I am asking fundamental questions about human existence: who we are and what is our significance within a larger whole.
The title word “Ma” (吗) as translated into Mandarin Chinese is the modifying particle that is used at the end of a statement to indicate a question is being asked. “Ma” (間) in Japanese can be roughly translated as "gap", "space", "pause" or "the space between two structural parts." It is best described as a consciousness of place, not just in the sense of an enclosed three-dimensional entity, but rather the simultaneous awareness of form and non-form deriving from an intensification of vision. “Ma” as a sound is also most commonly made by infants cross-culturally in the very early stage of speech, and is often interpreted by parents as a reference to themselves.
In my artwork, I approach the Sublime with the accumulation of computer rendered abstract images on a time line that reference cosmic and biomorphic forms simultaneously. While I was inspired by Ryoji Ikeda, who in his large installation Transfinite, approaches the Sublime with an accumulation of digits and data, my own 3D animation technology represents my ability to explore the infinite and the eternal as expressed by the mathematical the topographic.
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