ARTIST BIOGRAPHY:

Desmond Mah/马福民 (b. 1974, Singapore, Singaporean-Australian; works/resides in Boorloo/Perth and Singapore) is a neurodivergent contemporary painter. Mah’s practice critically examines legacies of colonialism and empire through the medium of paper and paint, blending traditional Southeast Asian effigy craft, Zhizha with contemporary approaches. He completed his BA Hons in Painting from Loughborough University, UK in 1998, and studied at LaSalle College, Singapore in 1997. Before emerging in 2017, Mah worked in the fields of art education and horticulture. Mah is of descent from Hainan Islands, Taiwan’s Kinmen Islands and Singapore. He immigrated to Australia during his teenage years in the 1980s, a challenging place particularly for the Asian diaspora in Boorloo.

Mah’s achievements include winning the E.SUN Bank Special Selection Prize (Taiwan, 2022) and the Southern Buoy Studios Portrait Prize (Australia, 2021). He has received grants and actively participated in exhibitions, residencies, and commissions. These residencies include the Fremantle Arts Centre Studio Program (2023) and two Red Gate Residencies (Beijing, 2018). His artworks are found in notable collections. Additionally, Mah turned down an offer to purse MA with Royal College of Art in London in 2023.

ARTIST STATEMENT:

My practice explores the distinct yet interconnected colonial histories of my birthplace, Singapore, and my adopted home, Australia. Through my work, I unearth the hidden and often overlooked aspects of colonialism, critically examining these histories and their enduring impacts. I aim to expose the secrecy and questionable morality underlying colonial endeavours, encouraging a more nuanced understanding of these historical events. By engaging with extensive research, historical archives, and AI-assisted dialogues on colonial themes, I reassemble and reinterpret history, developing speculative figurative works that broaden the discourse on colonial history and its contemporary relevance.

Despite the inherent fragility of materials like paper and paint, they are central to my work. Paper, traditionally used for record-keeping and documentation, also holds deep cultural significance in Southeast Asia, particularly in the creation of paper effigies for Taoist burning rites. Artisans craft these effigies with meticulous attention to intricate patterns, textures, and layers, often employing vibrant colours and ornate designs. The use of paper in Zhizha effigies allows for a diverse range of textures and finishes, with the contrast between the smoothness of the paper and the textures created through folding, cutting, and painting adding depth to the work.

Having witnessed the fading art of Southeast Asian papercraft “Zhizha/纸扎” during my childhood in Singapore, I incorporate its materials and principles into my painting practice. By fusing paint with manipulated adhesive, I develop a “weaving” technique that generates tactile lines and layered paper, constructing sculptural forms within my paintings. This tactile approach not only helps me navigate my neurodivergence but also evolves into a distinct visual language, allowing me to reconstruct and reinterpret histories. History can be interpreted from a number of perspectives, and there is never just one way of looking at it. Through my work, I aim to cast a critical eye on these matters, enriching our understanding and interpretation of history.

My goal is to revitalise “Zhizha” in a contemporary form that resonates deeply with my heritage. This approach embodies my belief that this craft as a form of expression can be invigorating through evolution and adaptation. By weaving paint and paper together, I physically and conceptually intertwine the overlooked and suppressed aspects of colonialism, creating a nuanced narrative that questions official documentation. The fragility of paper mirrors the delicate nature of these histories, while the evolution of the craft underscores ongoing efforts to contemporarise amidst cultural erosion due to environmental concerns and shifting beliefs.