maria 
lezhnina

Public Art Proposal for National Palace Museum, South branch, invited competition, 2023

The proposal is a mound of indigenous flowers, inspired by the colors and shapes of Tang Dynasty landscape painting and more in general Chinese fine arts. The landscape and flower colors will be constantly changing over seasons, providing a sense of time and constant novelty to the experience of the public art. An hypogeum space with a window to the sky also elaborate on the passage of time and the seasons, therefore creating a land art piece that engage viewer through many temporalities and perspectives.

Name | Timeless weight of beauty
Year | 2023
Size | 30 x 6 meters
Medium | rc structure, planters with bougainvillea flowers 

Name | Timeless weight of beauty
Year | 2023
Size | 90 x 90 x 120 cm
Medium | gesso, spray paint, metal wielding
Produced during residency at California1Taiwan

Environmental light box installation at the indoor skating rink in Taipei. The colors come from the Aurora Borealis, a natural phenomen occurring close to the Arctic circle. This is so that the public art, evokes blocks of ice floating under the changing colors of aurora borealis.  Depending on where the viewer is, the colors and pattern of the art piece warp, expanding the ways in which one might perceive and experience it.

佈局 is a Chinese character, which stands for layout, often used to describe chess game. The pieces of exhibition resemble to figures, the like of chess pieces. They are independent but also there is a set relationship that holds all of them.

The form of this exhibition is different from the idea of artistic spiritual meditation. Through the subtle connection with totem symbols, the exhibition itself shows an attempt to integrate animism and the aesthetics of living space to explore the tense pace of life.

Name | Dexing Road
Year | 2023
Size | 96 x 70 cm
Medium | Acrylic on wooden structure

The smaller artworks of the exhibition -I.e, framed boards- try to recollect the spatial experience of the major ones on the flat surface, challenging the more conventional format of the framed painting.

Name | Red on Red (right), Red on Blue (center), Red on Green (left)
Yeaar | 2023
Size | 48 x 38 cm

Medium | Acrylic on paper, metal frame

The main artworks of the exhibition are dedicated to different roads of Taipei city.

Name |
1. Yanping Road
2. Renai Road
3. Zhongzheng Road
4. Bade Road
5. Xinyi Road
Year | 2023
Size | 116,5 x 80 cm
Medium | Acrylic on wooden structure

Name | Daan Road (left), Heping Road (right)
Year | 2023
Size | 116.6 x 80 cm, variable
Medium | Acrylic on wooden structure

Name | Untitled (left), Zhongsheng Road (right)
Year | 2023
Size | variable, 116.5 x 80 cm
Medium | Acrylic on wooden structure

The 31st Anniversary Group Exhibition -
Encounter, light infiltrates slowly into the cornea, Galerie Pierre, Taichung - group exhibition, 2022
Name | Untitled Lishui 3 (left), Untitled Lishui 2(right)
Year | 2020
Size | 80 x 80 cm
Medium | UV print on aluminium, coated, wooden frame behind

untitled Lishui, 2020
is a photographic series and installation addressing the geology of rapid urbanization

room for the moon, Taitung Art Museum, 2021 residency program

Is an outdoor art piece based on augmented re- ality (AR), viewable at the Taitung Art Museum. Invisible to the naked eye, the 600 meters tall piece comes to life on the smart phones’ screen when people turn their camera at the right spot, appear- ing as real as the environment around it. Through the juxtaposition of physical and virtual worlds, the art work conveys a sense of rediscovery of natural phenomenon related to the experience of the sky and the solar system in Taitung. The project was inspired by a site visit to Pēinán archeological site in Taitung, where the oldest remnants of megalithic culture in Taiwan witness the relationship of the local man, architecture, and the objects of the astral sphere.

art book - study of Taitung landscape, 2021.
A research accompanying AR sculpture project at Taitung Art Museum, 60 pages, hand bounded.

The sculpture was developed for an exhibition “The color universe of Fuzhong” curated by Xue Xue foundation. It was inspired by Lin Ben Yuan mansion and the Window Grilles that can be found in New Taipei City.

Name | Something about Fuzhong
Year | 2021
Size | 250 x 160 x 30 cm
Medium | Wielded tubular stainless steel in vari- ous profiles coated in oil based varnish, two colors blue and white. Acrylic pink water based paint on wall, site specific.

`something about fuzhong`, artist book, 57 pages, 2021

marble is a state of matter, 2019
is an art book that investigates and narrates the effects of climatic phenomena over the materiality of the water surface 2019 Pahparn Sirima Chaipreechawit Award, Wonderfotoday, Taipei

Name |
1.Marble is a state of Matter #7
2.Marble is a state of Matter #1
3.Marble is a state of Matter #3
4.Marble is a state of Matter #2
5.Marble is a state of Matter #12
Year | 2019
Size | 35 x 35 cm
Medium | Ebru water painting, Inkjet print on fine art paper, metal frame
Series | Matter

Name | Untitled Climate (Fog) (left),
Untitled Climate (Tea plantations) (center), Untitled Climate (Hong Kong) (right)
Year | 2017
Size | 90 x 76 cm, 35 x 48 cm, 65 x 55 cm Medium | Inkjet print on fine art paper, framed Series | Untitled Climates

`untitled climates`, zine, 50 pages 21 image, 2017

In the brightly lit room, at first the image appears to be grey tones, but as you get closer it dissolves into color particles.

Name | Artificial climate - pair on cotton
Year | 2018
Size | 110 x 240 cm
Medium | UV print on Cotton with metal hangers Series | Untitled Climates

artificial climate, 2017-2018
is a photographic series, an art book, and a textile installation investigating the image and representation of pools as a man-made climates 2017 Ryoko Kodo Award, Independent Tokyo, Tokyo + 2017 Ishibashi Koki Award, Independent Tokyo, Tokyo

In particular, artificial climate elaborates on the varying relationship of water and space that is hidden behind the times when a pool is accessible by the public. The photographic images are taken when the pool undergoes annual maintenance, and the process of water refilling happens. Without any artificial light on, the pictures are overexposed in order to capture the varying intensity of atmospheric luminosity and humidity along the process, thus reducing the color range of the image and abstracting it. The transformation of the interior weather becomes the manifestation of the impact of climate-control over the visual experience. The various means of representation challenged by the project research how the experience of the environment could be represented by the extrathin materiality of printed image

`heat` from atmospheres of yangminshan, reinactment at 新芳春茶行, 2020