An archive in transformation
Leaves, flowers, fruits and roots gathered through the seasons are held in glass jars. Colours migrate into brine; textures soften and flavours develop through fermentation. Beside these ferments, the powders’ muted appearance belies their intense, concentrated taste. The cupboard brings different stages of transformation into view together.
Setting Off
Original etchings and engravings, embroidered forms, engraved copper plates, wooden fragments, mixed-media components and fragments of Tuol Sleng portraits are suspended in a spiral. As the viewer moves, these elements overlap and separate.
Delicacy and traces of violence inhabit the same space.
The Gap I (A + B)
Printed from the surface of deeply etched copper, The Gap gives colour to the spaces around its motifs, leaving their forms unprinted. Intricate detail and coarser textures meet across embossed paper in patterns that recall optical screens.
Metallic inks mixed with other colours produce a dominant sheen carrying hints of pink, red, blue, brown and green. Their balance shifts with the viewing angle. The diptych’s scale invites immersion: moving from side to side reveals different aspects of the same surface, while pausing lets the eye linger over its subtle colour variations.
Yet this shimmering beauty is held in paper and pigments, themselves vulnerable to decay and damage.
Panitam
Panitam brings together fragments of original etchings and engravings. As the viewer moves, colours and motifs form new alignments between the suspended strips of works. The prints, the architecture and the objects within it become integral parts of the same work, each changing how the others are seen.
Marine Ky’s practice moves between printmaking, installation and living plant matter. Impressions of cloth, lace and embroidery become soft-ground etchings; printed works take on new relationships when suspended in space. Her recent work with gathered plants and fermentation extends this attention to materials, time and transformation.