The drawings of these mosses are inspired by the masses of green colonies visible on many rooftops in Britain. The high moisture level in the atmosphere and light are favourable for their survival. Their migratory route is through rainwater washing them off the roof or wind blowing away any loose parts or their spores. Wherever they land, they squat and start a new colony. The mosses are squat in stature as it suits their purpose for stability. Their proliferation present a resemblance to how people migrate and cluster in groups of similar identity.
These mosses were collected from different areas locally and drawn very freshly to maintain their brightness, usually after rainfall. Each was drawn strongly with colour pencils layering the marks to achieve the degree of depths, over many hours.
Green squatter 7 was selected for National Open Art Chichester in 2010 which went on to show in the Works On Paper in the Science Museum, London in 2011. Green Squatter 8 was selected by Axisweb Project 2010 in which an artist is chosen from each of the nine counties nationally. These nine works were hung in the Arts Council London, Great Peters Street for eighteen months.
Some in these series were on touring exhibitions under the title ‘More Than Flora’ across Britain at County Antrim in Northern Ireland, Twigworth inGloucester, Waterside Art Centre in Manchester, 3 galleries in the Scottish Highlands, Bilston in Wolverhampton and Barnsley. These tours were curated by Alison Milner.
Other pieces are in private collection as is the first one which was selected for the Royal Academy Summer Exhibition 2008, London.
All the images are 23x23cm and drawn with colour pencils on paper.
Several from the Green Squatter series are purchased to private collection.
Green Squatter 9
Green Squatter 10
Green Squatter 8
Resonance is a piece of work made in 2010 for a drawing project in Pallant House Gallery, Chichester, Sussex. When Sin Mui visited the gallery to decide the subject matter for her proposal, it was a very wintry day in January. There was snow on the ground and the air was quiet. In the courtyard was a water feature filled with a row of reeds that swayed to the rhythm of the gentle breeze. As the reeds moved, they hit against each other and created a kind of musical resonance. In the silence of all around, she was the sole audience.
Resonance 41x41cm, took four and a half months to complete, with colour pencils then cut out.
Resonance - 2010
Study of Reeds Cut outs - 2010
In the late Summer of 2007, Sin Mui came across an abundance of chestnuts fallen from a big tree on the pavements just outside the town centre of Worthing. Some had burst where they fell and forming gaps of various shapes. She revisited the site for fresh collections and Repetition was drawn with pencils over three weeks.
Repetition was selected for ArtSway Open2007 in Hampshire.
During Brighton Festival, May 2010 in which Brian Eno was elected Artistic Director, Repetition was selected for Regeneration in Brunswick Square, Hove, Sussex and shortlisted for Regeneration House Award.
In October 2010, Repetition was selected and shown in Drawing 89th Annual Open Exhibition, Menier Gallery, London.
In private collection.
As It Unfolds
This installation consisted of a hundred pieces of colour pencils cut outs adhered on a ten metre white wall next to a big window. The pieces were drawn as the seasons unfolded from 2006 late Summer through to early Summer 2007.
It was exhibited in June 2007 at Northbrook College, Sussex and in July later on that Summer at Brick Lane, London.
As It Unfolds - 2007
As It Unfolds...Brick Lane 2007
Fern - 2007
Blue - 2007
Maple leaves - 2007
Fallen Twig/Lichen - 2007
Over Time was drawn on Japanese paper using colour pencils. It took some patience in feeling for a way to learn not to damage the paper overly as Sin Mui drew on it. The fibres of the paper easily loosened from the drawing movement, creating another texture on the surface but not hold the pigment.
Over Time - 71x105cm took one year 2009-2010, to draw with colour pencils.
It was shortlisted Royal Academy Summer Exhibition 2010.
Now in private collection.
Over Time 2009-10
In 2006, the white wall of the college gallery presented an opportunity to explore pencil drawing on the wall. The directness brought out a fresh and liberating process over the uneven-ness of the wall surface.
Pencil drawing on wall 2006
Wall Drawing 2007
Drawing On Wall 2007
Cavolo - seeing through an edible leaf with a different view. Tracing the veins and patterns of the leaf is not unlike walking through a forested terrain or a landscape.
Planescape - this work follows from Cavolo, is to look at details of leaves with another view. Tracing the veins and pattern of a leaf is not unlike looking at an aerial landscape.
Cavolo 2013 - 40x40cm Pen and colour pencils
Planescape 2013 - 40x40cm Pen and colour pencils
(in private collection)
Time To Fall
In Winter 2013 the weather created dynamic light and overcast allowing 'shadow play' performances on the ground where leaves and pine needles had fallen.
Pine Needles 2013 - 30x30cm Graphite, colour pencils on paper
Lime Leaves And Pine Needles 2013 - 30x30cm Graphite, colour pencils on paper (in private collection)
Time To Fall 2013
Time to Fall 1 2013
The seeds of Pterocarpus Indicus are green to start with and turn a brown black colour after. Each is very light and wavy round the edges with striae in the centre.
Multiples in any aspects of nature is commonplace. The Pterocarpus Indicus trees are found in the tropics. It is also called Malay Paduak. Some of these examples were found in Malaysia when Sin Mui was visiting last year. There were some huge gusty storms in July and large amounts of these wing seeds were blown off to cover distances before settling.
These seed forms are in the process of being made out of air dry moulding clay. All pieces are made by hand and painted in black ink.
In multiple it is a visual feast and collective strength in black.
Pterocarpus Indicus 2014
Pterocarpus Indicus - multiple 2014
Pterocarpus Indicus - in pencil 2014
Pterocarpus Indicus - multiple 2014
The brush work on the ten metre Chinese paper was worked directly as it was laid on the grass. The black ink marks were brushed freely and quickly on the surface with little support from under the paper. The movements with the brush flowed with impetus, urged by the wind. At the same time the wind was breezing around and lifting the paper at different places, creating another movement of its own.
Sin Mui wanted to feel the immediacy of working in the presence of nature, on grass surface and outside the constraints of a studio space.
Intervention 2011was a project collaborated between Pallant House Gallery, Chichester and Northbrook College Sussex.Sin Mui was thrilled to be asked to take part as a post graduate of Northbrook College
Her proposal was initiated by the motifs of plants reflected in aspects of Pallant House Gallery.It was also inspired by works of some of the artists e.g. Paul Nash, Ivor Hitchens, Mathew Smith as well as reference made of Henri Matisse.There are also profusions of ivy clinging to the outside walls of some buildings in the area.
Ivy plants are ubiquitous and are considered as invasive in our environment.This promptedthe idea to ’invade’ a part of the gallery space by intermingling it with ‘nature’.Sin Mui had it in mind to enhance the attributes of ‘Invasive Exotics’, selecting the Queen Anne section of Pallant House to place these drawings.
In addition to 'Invasive Exotics', there were drawing/cut outs of ‘leaves’ by the fireplace which had gained ‘access’ through the chimney.
All leave forms are hand cut-outs of colour pencils drawings.
Invasive Exotic 2011
Invasive Exotic 2011
Invasive Exotic/pencil drawing - 2011
On A Line
Autumn 2015 has been focused on seeds. Drawings on both side of fine silky Chinese paper to reflect three dimensional aspects led to drawing on goose eggs over curve surface. The goose eggs are suspended on a line to allow gentle movement.
Indian Beans 2015 - 15x15cm Pen drawing on painted goose egg, nylon, bead, mirror, Perspex
These are drawn with pencil and graphite on both sides of very fine translucent silky Chinese paper to reflect aspects of depths on a two dimensional surface, followed by painting on with gold paint.
Indian Bean 2015 - 50x70cmPencil, graphite and gold paint on fine silky Chinese paper.
Ilex 2015 - 50x70cmPencil, graphite and gold paint on fine silky Chinese paper
Old Man's Beard 2015- 50x70cm Pencil, graphite and gold paint on fine silky Chinese paper
Red And Black
Through the process drawing and printmaking, I have been useing raw pigments and graphite recently.
This is inspired by the celebration of Chinese New Year when there is usually an abundance of very lush fruits, Lychees.
Red 2015 - 54x59cm Red pigment, graphite, binder, white gold leaf on paper (in private collection)
Black 2015 - 54x59cm Graphite, binder, silver leaf on paper
Enfold Unfold are works first began through images of plant life that has been photographed from journey abroad. Through the process of cutting Lino and printing, it sets in motion a need to traverse a different plane, to shift from print to make marks.
These works are created in Winter, then Spring 2017. Each has been frottaged with several colours on both sides of very fine paper. White gold leaf is applied, after which the paper is enfolded then unfolded from a sphere - an intricate terrain.
Enfold Unfold 2017 54x59cm - Wax crayon, white gold leaf on paper (white frame)
Enfold Unfold-2 201757x62cm - Wax crayon, white gold leaf on paper (white frame)