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 Green Squatters 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 in Gloucester, 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 drawn with colour pencils on paper.
Green Squatter 9
Green Squatter 7
Green Squatter 10
Green Squatter 7
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 took four and a half months to draw with colour pencils and cut out.
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 in May 2010, Repetition was selected for Regeneration in Brunswick Square, Sussex and shortlisted for Regeneration House Award.
In October 2010, Repetition was selected and shown in Drawing 89th Annual Open Exhibition, Menier Gallery, London.
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
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. This directness of technique brings out a fresh and free agility in drawing.
Wall Drawing 2007
Drawing On Wall 2007
Fractured 2013 began with the decomposition of an orchid leave. The drying state of the leaf makes breaks along the veins which resembles the dried up weave and cracked strata of a chunk of the landmass.
This is drawn with colour pencils and cut. Figure in black pen.
This work, Planescape follows from Cavolo1 which made me look at details of the leaves. Tracing the the veins and patterns of a leaf is not unlike seeing the landscape with roadways and rivers.
Planescape 2013 is drawn with pen and colour pencils.
Cavolo1 is made through seeing an edible leave with a different view. Tracing the veins and patterns of a leaf is not unlike seeing the landscape with its roadways and rivers.It has also resemblance of other lifeforms.
This is drawn with pen and colour pencils
Time To Fall
This is a small project Sin Mui made on the spur of the moment last winter, 2013. The weather system created dynamic light and overcast allowing 'shadow play' performances on the ground where leaves and pine needles had been shedded.
Drawn with graphite and colour pencils
Time To Fall 2013
Time to Fall 1 2013
This is drawn with pencil.
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. Sin Mui is making every piece by hand and painting them after in black ink.
In multiple it is a feast visually and dynamic in black.
Pterocarpus Indicus 2014
Pterocarpus Indicus - multiple 2014
Pterocarpus Indicus - in pencil 2014
Pterocarpus Indicus - multiple 2014
The Brush work on the 10metre 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 flow 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 soft 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
The black ink drawing is an image of lines made by dried Ivy on a wall in France. It is overlaid on a photograph of waves coming in to shore locally. Sin Mui finds it compelling how similar lines and formations are in nature, be it water or plant.
Far And Near - 2014
This piece of work is black ink drawing of a site of Worthing seaside and pier. It is printed over a photograph that Sin Mui took in Malaysia. The photo image is of the intricate patterns made of tiny sand 'sculptures' created by very small crabs on the beach. At sunset, the shadows made elongated movements. The black line drawings of the trees in winter began to merge with the patter of the 'sculptures', making the pier the only horizontal structure.