By watching the works by Ma Lingli, it is easy for people to fall into the trap of the subtle composition and pleasing color in these works. Our understanding of the background of Ma Lingli as a young artist is that she has always used the skill of painting to drive the conceptual art to take us to a world of fantastic dreams. But for any artist, the creation does not depend solely on the nature of beauty, but on action, as an additional motivation under the techniques and thinking. Under these elegant appearances, it is to fill the gap of cultural experience between the Chinese and Western arts, and at the same time steadily set up a language bridge for convenient communication, so that people can walk through freely. The biggest essence of this visual travel is not just to appreciate the beauty, but also to discover, touch the gaps hidden in time and space.
By knowing the use of ink materials very well, she understands the variability of all the media she uses in the many years of painting practice. Due to the vitality under control of the pen and the unknown of the ink halo dye, the artist is not only the master of her picture, but also involuntarily hands over part of the energy in her works to the water, the air, the time, and the creator. The artist's innovation from Chinese tradition and her acquisition of Western classicality make painting a handy material for her to use in her time-space collage, like witnessing the birth of beauty again, which must follow the wishes of a protagonist, so that they deduce a new drama, and the drama is slowly opened, only to show a frame of condensation.
This frame is inadvertently squatted but seems to be the reproduction of history under the light and shadow. The superposition of visual memory creates a staggered impression. Those may be a memory point that you think is familiar, but it is hard to imagine where it is spreader from. Every depiction under fine brushwork points to a time dimension. It is delicate and subtle, and it is not extravagant. This is the precise training to the artist by Chinese traditional arts, which also puts her thinking and consciousness into nobility when she used a pen and extends into a pattern of time and space. Under such a rhythmic creation, the drama tension that the artist wants to present will appear.
From the Chinese Yuan and Song Dynasties to the Western Renaissance, Ma Lingli observes not only the light and shadow of the line structure, but also how the image of everything is reflected in the heart and how it is presented in a personal way. Amid the complex, she draws a clear part, by using a calm tone and a clean picture to outline a universe in her heart. This universe is not in volume, but in the universal container under the space-time pattern, which makes people believe that it can become a gift of time even if the ruins of dust are hidden in it.
The above is not to prove that the artist intends to start from the tradition, because the artist's energy absorption is not limited to the times and countries due to the current visual information. We can only say that the artists like Ma Lingli create their works with the genetic codes, because what perspective she uses to investigate the landscapes, even everything, and how she reorganizes and replaces it inevitably rely on Chinese-style cultivation.
The technique of collage responds to the depiction of landscapes by traditional Chinese painters, while the possibility of cascading is given to the time. The light transmission gives the ambiguous associations between these images, and the emotions hide in the shadows. At this moment, painting becomes the accumulation of materials, but the material is no longer the ready-made product, because the formation of the materials requires her to use the sensibility as the rudder and use poetry as advance and retreat. Painting has become a premise, just like grinding the visual particles from the chaos into the pigments to make it fragrant and delicate. All the senses about time and space that are stored in the senses become painting, and painting is not the end, but is a preparation. Then she will take these into another dimension: to create a void.
The process of working on arrangement is completely rational, once again accommodating the previous sensuous creations, and putting them into a spatial and quantitative orderliness. Such rationality gives the creator-like pleasure. At this moment, the artist temporarily replaces God.
The close-distance, medium-distance and long-distance landscapes of traditional landscapes are separated by clouds and flowing water, so the generated illusion caused the paintings of the world by the artists of the past to declare the void. The incomparable huge void also appears in Ma Lingli's modern emoticons. All graces and all restraints rendered by collage, reveals the intention of artist that reason and divinity coexist. The essence of her attempt to approach and touch is to have a resounding echo in the void. How far the echo sounds, means how deep she throws.
Going back to the frame we want to gaze, we realize that such a dramatic landscape is an arrangement stage installed by artists with paintings, while She is doing the opposite in the trend, looking back into contemporary from the history. Yes, jumping off the linearity of time, we must use the word "look back" to describe it.
In some works, she simply uses pure styling to pull our sights to a distant void and face the moment. These elements that are not easy to find are just her usual creations, becoming intuition, becoming experience, and being used quite comfortably.
The good use of these techniques also means, she uses the fine pen to trace not to capture the complex, but to take its outline and express its simplicity, liberating all the landscapes of Chinese and Western landscapes in time and space. In these drama-like small landscape, are the things that exist originally in the world but were directed by her to produce the diaphragm, like the past and present, like dreams that have never been done. The intersection of dead branches and moon shadows, seem like the typical figurative but produce the illusion due to collage, reproduce the distant artistic impression with a strong personal style, so that people can think of a geometric form brought by Hong Ren's picture, and touch the texture of the branches in the early scenery of Mondrian. Ma Lingli is using such a simple composition, which makes people lost in the divisions of time and space. The hard-to-distinguish between reality and illusion has always dissipated and fostered each other until we took the time to determine the spatial relationship between the arrangement and the painting.
What we can see in Ma Lingli's painting arrangement is the solid establishment of natural and manual orderliness, deep and mysterious. The appearance of the portrait, still life and landscape are behind a complex condensation in the artist's heart. She dissolves the complexity of the world and transforms them into energy, reflecting the harmonious unity of orderliness. The viewer's gaze on the painting is no longer an attempt to judge the emotional origin of a work, the root of creation, but the reflection on the innermost heart and the judgment of the deepest world in the individual's heart.
Deconstructing the meaning of religion in images containing religious forms, it seems that under the veil of the recluse, it may be associated with the reconciliation of ancient monks in another work. The religious emoticons under their respective cultures are disrupted in history by a respectful artist, entirely without bound lines of latitude and longitude, showing how she understands the rhythm of these religions in her vision, and decisively captures the beauty of these religions but dilutes it, which indicates the artist is not willing to express the ultimate and she takes the retraction, balance to restrict the images, not letting them fall into the lyrical situation. But she also gives a mortal sense of religion to the mortal things. The silent rabbit that seems to be holy, or the arches and curtains of the moon shake, embody the astonishing sacredness that can be seen briefly.
The beauty in depths of tranquility is because there is such endless unknown in the mezzanine of time, but the transcendental feeling brought by Ma Lingli's image in the overall vision, makes us question the world in an instant, reducing the burden, and there is a slight. Having a trace of suspicion on the moment often causes to experience the moment, breaking into the eternal silence.
The silence in this vision is the artist's clarification, creation, and presentation in complex clues, and hidden in it is her admiration for time and her refusal for time. This kind of creation is not to confuse the viewer's experience of time and space, and it is to make our perception of world more expensive. Everything that looks like a illusion is actually something that can be touched by the earth. This is proof that a person's inner landscape pattern is how chic scattered, and the world and the times in her position will meet her in that way.
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