Mary bernadette lee
Mary Bernadette Lee is based as an artist in Singapore and has been practicing since 2014.
She is an artist, educator, illustrator, co-creator, observer & collector of information & experiences through collaborations with communities.
Her artistic practice takes the phenomenological approach investigating relationships between body, architecture and space, and psychological states relating to Self, Identity and Home. This relational dialectics between the physiological and the psychological is expressed through her works that foreground the architecture of her as a person and an artist.
Inspired by Pekalongan batik and their focus on nature-inspired imagery in their Semem batik-painting style, Mary drew upon a similar working approach. The intention was to eventually work towards a textile-based installation. With a strong interest in wearables heavily invested in symbolism and power, she wanted to weave in an integral belief about the significance of wearables; how power can be transferred from artist to textile to wearer.
Focused on the natural surroundings in Telok Kurau Studios and, specifically, the mango tree and its inhabitants, she observed the natural comings and goings of the rose-ringed parakeet, spotted doves, pigeons and mynahs. Their behavioral patterns and habits inspired the whimsical imagery that would be incorporated into the textile design. Most of it is centered on ideas of home, transitions and movement; more specifically, the migratory parallel between her own transitions from her parents’ home and the birds’ movement around the tree.
The residency started with observing the social and habitual patterns of rose-ringed parakeets, spotted doves, pigeons and mynahs with the Mango Tree just outside 405 Residency at Telok Kurau. Generally, the mango tree is observed to be a pitstop, a familiar space to play, take refuge to find rest and food.
Mary is intrigued by the idea of embodied transference of power, significance and energies through creation, from artist to wearer. It is believed that the repetition of a motif has a meditative effect on the artist and the order of the pattern is transmitted to her spirit. In repeating a motif of significance, the artist also wishes for the power of the symbols to be multiplied with the intentions of transmitting to the wearer of the batik cloth.
In batik, generally birds symbolize freedom and perspective. Many cultures believe they symbolize eternal life. Little birds symbolize happiness and joy. In central Java, one of the dominant batik painting styles is called Semen. It consists of buds, sprouting leaves, and animals on the background of leaves. Very often, their backgrounds are filled with dots, stripes or a combination of both (ornamentation). This is called Isen Isen. Isi means to fill. Ise + an is filling. In Bahasa Indonesia, a word is made plural by repeating it.
The motifs are inspired by the parallels between the transitory movements of the bird to my movement from my parents home to mine. There is a back and forth, coming and going, leaving and staying. Amidst all this transience, there is also good faith in the reliability of a stable environment to return to, that is home. Likewise, the mango tree serves a similar function and purpose for these birds in Telok Kurau. It is a home that is safe, secure and stable.
Initial observations of the natural inhabitants in Telok Kurau
Frottage of mango leaves, and deriving patterns from it to form “Isen Isen” (fillings/ background)
Compositions of textile art
Waxing with java-paraffin wax
Sample swatch test