Hina Mae (She/Her)
Mae completed her BFA in 2014 and her first MFA in 2016 at Tokyo University of the Arts. During her doctoral studies there, she was selected for the student exchange programme at Central Saint Martins in 2018. She has exhibited her work internationally, including Tokyo, Glasgow, New York and Hong Kong.
My recent art practice is being actively engaged, back-and-forth between two languages. I exercise changing the distance of myself in the detachment and discordance in both linguistic and ethnographic scales. Ownership of the body image of one’s own and invasive proximity by the unknown is another issue being raised in my work.
Sometimes is more often than you think. Sometimes is more often than you think.
Sometimes is more often than you think. Sometimes is more often than you think.
Sometimes is more often than you think. Sometimes is more often than you think.
Contact (unstable, and too stable): @HinaMaey on Twitter
Gestures of Rejection: The letters to all rapists
Trigger warnings: Some images and descriptions in the series ‘Gestures of Rejection’ will include topics that some viewers may find offensive and/or traumatising. It includes the author’s nudity in private with the episode of cyber-stalking.
My devices MIGHT BE BROKEN, AND/OR MIGHT KEEP WORKING IN MARCH, APRIL, MAY, XXXX… This series is my personal archives and research process linking to the ongoing project ‘My English Garden’. In other words, this is an inside story of the project: I have been gang-stalked and cyber-attacked. Once my cyber-stalker referred to my private life as their precious archives – I was going to vomit. The grotesqueness of the words and their inhumane, intrinsic motivations to invade others’ lives reminded me of the ‘abjection’ by Kristeva.
I started to photograph my nudity after I realised their gang-stalking and live-streaming. It was the issue of the ownership of my body and being against their collective attempts to humiliate and absorb all the things and relationships around me.
In the difficult moment, I was encouraged by On Kawara’s Date Paintings and the series of I AM STILL ALIVE.
My English Garden
The idea for my latest installation series, ‘My English Garden’, developed with my writing experience of i-Novels (shi-shōsetsu; 私小説) ‘On the Riverfront’,’ ‘Revenants in My Room’, and ‘Scales’ in English. I started to write the drafts of the confesssional novels in Japanese first, and later produced them into English. These are the translated novels without the thoroughly completed versions in the original language. My narrative is constructed differently in-between two languages, within the visceral surge of how gradually one part of me fades away.
The camera voyeurism and the persistent cyber gang-stalking are the second layers of the work. The mounds of the shredded papers were made in two entirely different processes; one is carefully handwritten, and the other is made of randomly spilt ink. It questions to what extent it would be possible for others to distinguish the initial subtleties and ambiguity of the author’s words. The stretched papers in all directions also indicate the flow of distribution through one’s voice can be easily turned into something identical and disposable by unscrupulous powers.
From Hi Me
…
If I am not able to properly install my work because of theft, damage and/or other interruptions, this would still represent my work.
If I lost all components of the work, I will just literally keep standing there as my body is the only material in such a case.
If I could not arrive at the space for any unexpected inconvenience, I will submit the empty space, which is allocated for me, as Void with the reasons behind it.
…
16:47, 12th April 2022
