Nova Ma

Year of birth: 2000.
Where do you live: London, UK.
Your education: Royal College of Art & University of Edinburgh.
Describe your art in three words: Tactile, Dynamic, Reflective.
Your discipline: Ceramics and Mixed Media Sculpture.
Website | Instagram

How did your background in architecture influence your transition into ceramics and mixed media art?

My interest in sculpture originates from the meticulous process of architectural model-making, where I developed an appreciation for crafting tangible forms to represent spatial ideas. Exploring space, structure, and form has always been a central focus of my practice, both in architecture and in my transition to ceramics and mixed media art.

However, the shift from architecture to sculpture presented a unique challenge. Architectural design is inherently functional, following a structured process of identifying a target issue, analyzing it, and providing a solution. This problem-solving mindset initially made it difficult to embrace the more open-ended, conceptual nature of art-making. The transition required me to unlearn the emphasis on functionality and instead delve into the abstract, allowing me to engage with materials and ideas more intuitively and experimentally.

What inspired you to explore the relationship between space, materials, and sensory experiences in your work?

While humans are predominantly visually oriented, other senses—such as hearing, touch, taste, and smell—play equally significant roles in shaping our perception of the world. This holistic sensory engagement has always fascinated me, particularly in how space and materials can evoke emotional responses and create immersive experiences.

In my work, I am particularly intrigued by how different forms and textures—such as intricate patterns, soft fabrics, or the contrasts between smooth and matte glazes—can evoke tactile sensations in the mind. This approach allows me to experiment with how materials communicate on a sensory level beyond sight, offering new ways to engage with physical spaces and objects.

Nova Ma | Supend! | 2024

Could you share the story or thought process behind your project “Joint & Junctions”? How did you conceptualize the interplay between porcelain clay and hemp?

In Joint & Junctions, I aimed to exhaustively explore the possibilities of combining two materials with contrasting properties—porcelain clay and hemp—on both macro and micro levels. This included investigating structural joints and connections and the microscopic interplay, such as the integration of clay particles with the fibres of hemp fabric.

A key focus was to examine the tension between the materials—the rigidity and fragility of porcelain versus the flexibility and resilience of hemp—and how their inherent properties interact and challenge each other. This exploration allowed me to test the limits of their compatibility and to highlight their dynamic contrasts.

Fragility also became an integral part of the sculpture’s narrative. The unstable and imperfect joints evoke a sense of vulnerability, which invites viewers to reflect on the delicate balance of connections. This instability engages the audience on a sensory level, sparking a dialogue that transcends the physicality of the work and resonates with their own perceptions of materiality and form.

In “Suspended!” you freeze moments of dynamic stillness. How do you approach capturing this tension in static forms?

The Suspended! series centres on abstracting the essence of the parabolic curve to embody moments of dynamic stillness. For instance, the instant when a pendulum reaches its apex represents a fleeting equilibrium—an almost imperceptible microsecond of tension before motion accelerates once again. This delicate balance between movement and stillness is the foundation of the series.  

This idea is to materialise through asymmetrical parabolic forms that suggest a sense of momentum. These curves create a visual acceleration, evoking energy and motion even within the static nature of the sculptures. Unlike stable geometric shapes, which convey predictability, the curves introduce an intentional instability, hinting at flow and transformation.  

Additionally, the physicality of stoneware plays a crucial role in reinforcing this balance. Its inherent weight interacts with the curves, contributing to the overall equilibrium of the piece. This interplay between material properties and form brings the sculptures to life, encapsulating the tension between stillness and motion, stability and fragility, in a cohesive and resonant dialogue.

Nova Ma | Supend! | 2024

What role does sustainability play in your practice, and how do you integrate sustainable materials into your works?

Sustainability is a fundamental aspect of my practice, explored on multiple levels. For instance, I deliberately avoid using adhesives in my works, ensuring that all materials remain in a recyclable state. In ceramic production, I incorporate recycled clay whenever possible, minimizing waste and extending the lifecycle of the material.

As part of my residency at superSATELLITE.rca, I’ve integrated sustainability into my Tactile Memory – Capturing Textures through Clay Impressions workshop series. This involves using discarded materials from construction sites in Southwest London as part of the tactile art-making process. By repurposing these locally sourced materials, I aim to highlight their sensory qualities while fostering a dialogue about the material’s origin and its connection to the surrounding environment. This approach not only reinforces the value of reusing resources but also emphasizes the tactile and cultural specificity of materials in artistic practice.

How do you balance the structural elements of your pieces with their emotional or sensory resonance?

I don’t see structure and resonance as opposites but rather as complementary forces. In my practice, this balance often emerges through specific formal strategies, such as adjusting visual weight to create the illusion of being “off-balance.” This slight sense of instability not only challenges the viewer’s perception but also conveys an emotional undertone of tension or uncertainty. On the other hand, when I opt for more symmetrical or fluid forms, they tend to evoke feelings of calmness and equilibrium, offering a sense of inner stability.

Beyond form, materiality and colour play crucial roles in enhancing this balance. For instance, I might use rough or highly textured materials to evoke tactile associations, making the emotional aspects of the work more tangible. In contrast, smooth or matte surfaces bring a contemplative softness to the piece. Also, colours add another layer of nuance. These details enable structure and emotion to engage in a dialogue, while maintaining a hint of ambiguity, rather than existing as separate aspects of the work.

Nova Ma | Joint & Junctions | 2023

Your work often pushes the limits of material flexibility. Can you share any challenges or breakthroughs you’ve faced during this exploration?

Working with materials like clay inherently involves dealing with uncertainty and uncontrollable factors. For example, clay’s shrinkage rate during drying and firing, the changes in hardness as it loses water, and the internal stress within the material can all lead to unexpected results. These challenges required me to adapt my approach and embrace the material’s unpredictable nature.

Through extensive trial and error, I conducted numerous prototypes to identify the exact limit of clay slabs’ curvature before they would crack or collapse. This process not only determined the final forms of my sculptures but also dictated how elements could be joined, ensuring both structural stability and aesthetic coherence.

These explorations deeply connect to the broader narrative in my work, which often revolves around themes of tension and fragility. The limits and vulnerabilities of the material mirror the precarious balance I aim to capture, turning technical challenges into integral aspects of the piece’s conceptual expression.

Nova Ma | Supend! | 2024