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Marine Ky is a visual artist and engraver known for her work in translating Buddhist spiritual themes, oriental aesthetics, and ancestral Asian techniques into engravings, prints on paper, silk, as well as installations and sculptures. Born in 1966 in Phnom Penh, Cambodia, she belongs to the rare group of female artists of predominantly Chinese heritage of her generation who have returned to Cambodia.[1]
Education and Career edit
Marine Ky began as an autodidactic in printmaking, and was then formally taught courses at the Australian Print Workshop in Melbourne. She later completed a Masters Degree at the School of Art in Hobart, University of Tasmania, Australia. Her artistic journey reflects a fusion of her cultural heritage, Cambodian origins, and experiences of exile.
Her artistic projects emphasize memory, transmission, and sharing, often incorporating participatory and educational workshops. Notably, Ky's work has been exhibited in Melbourne, Sydney, Phnom Penh, Tokyo, and Singapore, where she received an award in 2016 at the Contemporary Art Biennale.
Exhibitions and Projects edit
Ky held her first solo exhibition in 1997 in Australia and has continued to exhibit, with support from australian galleries in Melbourne and Sydney. Solo exhibitions include "The Epidermis of the Earth II (Mekong)" at Concourse, the Esplanade, Singapore, and "Each Moment the World is Been (Re)created" at Institut Français, Phnom Penh, Cambodia. In 2019, Marine Ky exhibited her work for two months at Passage du Grand-Cerf, Paris.
In 2015, a retrospective exhibition titled "Optical Screens and the Earth" was held at Meta House in Phnom Penh, with almost 20 years of work. The exhibition, co-curated by Dana Langlois, drew on various themes, ideas, and techniques, with a common thread of exploring the materiality of works related to fabrics.
Technique and Style edit
Marine Ky's artistic process primarily involves etching on copper using the "soft varnish" method. This technique entails covering metal plates with a thin, uniform layer of varnish, allowing the impression of patterns to be pressed onto the plates. The depth of the bite on the metal, influenced by exposure to acid, determines the final outcome.
Ky's work is characterized by a subtle blend of eternity and ephemerality, uniting lines and supports in an aesthetic that calls upon both grace and rigor. Her creations, marked by a cyclical dynamic, reflect a reflection on the ephemeral and the importance of the present moment.[2]
Recognition and Critical Acclaim edit
French writer (on Buddhist renaissance) and journalist Yves Le Faou[3] describes Marine Ky's work as a "subtle blend of eternity and ephemerality," praising her talent for manipulating light, superimposing patterns, and interpenetrating shapes and backgrounds.[2]
References edit
- ^ Partland, Lily (22 October 2009). "Nomadic artist drawn back to Cambodia". phnompenhpost.com. Retrieved 2023-11-25.
- ^ a b "Biographie". MARINEKY.COM (in French). Retrieved 2023-11-25.
- ^ Renaissances bouddhistes. Du Tibet à la France - Yves Le Faou (in French).