dAVID 方世玉

David Ma Name: Land of Me (American Bones) Medium: Laser Etch on Cattle Bones Year: 2022 Dimensions: 10 × 7 inches (H x W) Reflecting the origins of Chinese Americans in the West. I used cattle bones as a central motif to draw parallels between the exploitation of Chinese coolies in the Americas and the historical use of oracle bones in China, which served as early tools for language and record-keeping. New World Artifacts. When are we free from being perpetual foreigners? Is it when our bones burn and bleed? Land of the Free Land of My Mother Land of My Father Land of My Sisters Land of Me  Bones have been monumental in the conception of my ceramic chairs series. It's oftentimes the earliest remnants of Asian Americans, in their resistance against violent racist mobs.

Who's Gonna Sing About Me When I'm Gone Oil on Canvas 2020-2023 30 x 36 inches (H x W) David Ma is an Asian-American born interdisciplinary artist based in New York City, Ma navigates the mediums of Painting, Printmaking, and Sculpture, as he searches under the clutter of mainstream American culture to look for the vibrant, often complicated portrayals of Asian representation in American culture, swept by misconceptions and surface-level privileges. He uses traditional East Asian decorative motifs in tension with Western self-concepts of individualism to collage various paradigms into a clusterfuck of who he is and how he relates to society. This piece is about reflecting my own mortality when Covid started and Asian people were being attacked. I was wondering what happens after I pass away, who is left behind and who holds my memory. Looking towards what comes next? (What tethers us to death?, What tethers us to life?), and an Eastern idea/philosophy of reincarnation (Samsara). I went back and looked into the archives of Eastern mythologies surrounding cycles, enlightenment, and ritual to find myself.

[watch the video in full, it’s a render of the space and actual footage near the end of footage] “H O M E” Director/ Script by Leo Cross Thesis film for Ghetto Film School & Digital Bodega It was a grueling but amazing experience to work with some talented students and professionals as the Art Director for this film. It was a week long 12 hour day work load with some all nighters in between. It was interesting designing the rocket ship for the film. I couldn’t have done it without my Production Designer, Shana <3, our Production and Costume Designer mentee Katelyn, and our trusty Productions Assistants, Oscar and Benzion. Looking forward to the next project!

“Childhood Star (Ceramic Chair) (Fragmented Bowl)” Medium: Fired ceramics and Glaze, Glass Beads Year: 2021 Dimension: 45” x 25” x 25” inches (H x W x D) My ceramic masks are about the faces or social roles in an Asian household. I created pieces that represent a son, a mother, and a father. This is one of the set of three, the Son, a dreamer and consumer of food and knowledge. These are made to be interactive, the viewer is able to put on the mask and sit on the chair, thus becoming part of the lineage. Becoming rooted and connected to a greater family system based on filial piety. The mask is heavy and the chair is uncomfortable but the mask hides any sign of discomfort as the viewer becomes forced to support themselves. The bowl was recently damaged and repaired with a Kintsugi method with Glass Beads in collaboration with Kris Waymire. @kris_waymire * Not pictured above * Photos taken and edited by the talented @hiroshisunairi

“UltraBootlegMan” 2021 Oil on Panel & Handmade UltraBootlegMan Mask 50 in x 35 in (H x W) Looking at all the turmoil of this previous year, I was reminiscent of the representation of Asian superheroes I’d seen as a kid. Who is there is save people in a time of need? Where are they now? This isn’t a painting of distress but a call. Anyone can pick up the mask and represent a hero in their lives. We may never be the idealistic version of our heroes but we can always try to be a better version of ourselves. #ultraman

My Ceramics in a Virtual Reality 2021

*Now on view at Bobst Library* Ty to the curator Camila :) @camilarodriguezj Selfless Family/Selfish Boy Oil, Acrylic, and Sumi Ink on Canvas 2019-Ongoing 10 ft x 16 ft (H x W) What started off as a painting in the summer of my first year (of University) has drawn out to a seemingly forever work in progress. I was naïve and wanted to show the conflict between Eastern collectivism and Western individualism. My choice of pursuing an education in art when went against any logical first-generation immigrant career. I was going against providing for the family, and a stable career in business, banking, or tech. I realize now that I don’t need to be trapped between the two. I am still an individual that is part of a collective. I am a part of each and every one of these people, and I can still see myself among all the faces. As people stand and pose with the work, they blend in and become part of this family. Once they walk out of the painting they become clearer. Did it feel good to be part of something larger than yourself? Hidden in plain sight, having the ability to see yourself and the freedom to walk away?

“Untitled WIP” Acrylic on Canvas 2020 5 ft x 8 ft (H x W)

Closeup for this WIP “Red Eyes (Mourning Time)”

“Red Eyes (Mourning Time)” 2021 Wax Pencils and Oil on Wood Panel 48 in x 33.5 in (H x W) One Year since the Atlanta Spa Shooting. The quote in the painting is what the Sheriff said in the press conference addressing the Shootings. In Memoriam of The victims at Young's Asian Massage were Delaina Ashley Yaun, 33 Paul Andre Michels, 54 Xiaojie Tan, 49 Daoyou Feng, 44. The victims at the Gold Spa were Hyun Jung Grant, 51 Suncha Kim, 69 Soon Chung Park, 74. The victim at Aromatherapy Spa was Yong Ae Yue, 63.

“FLAG? ( where. are. you. really. from? )” Acrylic on Canvas, Found Object (Mask and “I voted” Sticker) 2020 48 in X 36 in (H x W) This is a piece that is an exploration of my own understanding of living under the pandemic. The rise of isolation and lack of food security. The unseen assaults on East/Southeast Asian, and Pacific Islander peoples as the cause of the pandemic and lockdown (also in various countries)(They assaulting us all cause they can’t tell the difference between our people). Looking towards what comes next ? (What is death?, What is life?), and an Eastern idea/philosophy of reincarnation. I went back and looked into the archives of Eastern mythologies surrounding cycles, enlightenment, and ritual. There is a lot to unpack from this piece since everything is overlapped and collaged on top of one another. It has grown as the pandemic has continued, like wearing additional layers as the seasons change. This piece serves as a Flag for me and anyone who can relate to the piece There’s two orientations of the work. It’s meant to be shown vertical with the mask over GuanYin (God/Goddess of Mercy/ Physical embodiment of Compassion). However the “Flag” changes orientation once I’m present in the room, as I take the mask off the piece and wear it and rotate it counterclockwise. This causes certain figures to become visible as an active critique of spaces (performance work???). Eluding that when Asians/ Minorities are not present in telling their own stories, there are views that become overlooked and misinterpreted. Asian people more then ever need Asian artists to represent our own histories before someone of power does it for us. The push towards stereotypically stable careers (Doctor/Lawyers, etc) has cause a deep pit where the Asian American and Asian Diaspora identity/representation is dying (over saturated with boba as a personality trait and proximity to whiteness). People still think all Asians eat bats. Crazy.