Mary carries this technique in some of her most notable art works, such as Jinling Women’s University Memorial, Johnson State College, VT.
This technique allowed the artist to create multiple stencils at a time, as well as creating a sense of darkness and fragility in the paper, in which the artist would often like to add into her work to create a sense of movement. You would then take a candle and run it underneath it so that the candle is lighting through both pieces of paper so any place that there is a whole creates a stencil and once lifted off you would ultimately get two versions of the same design. During this process, Mary would take one paper cut and lay it over a larger piece of paper and spritz it with water so that the paper sticks together, then lay it on a piece of wood or glass and flip the paper upside down. Each creature was cut out individually and covered in soot, which allowed people practicing this technique to create a stencil without re-drawing the figure over again. The creatures included centipedes, snakes, spiders, scorpion, and toads. This is her take on the Shroud of Poison created with 300 paper cut out poisoned creatures at the bottom. Shroud of Poison, Wave Hill, 2002-This piece demonstrates a technique Mary had learned from the women in the countryside of China that the artist has applied in some of her most recognized pieces.
In accordance with this Tings Mother felt the need to preserve the hopelessly shoot herons, and as a result of this
According to Mary Ting the this art serves as a time portal trying to tell people a pece of her mother life story used for Ting bed night story, one day when her mother was at Nanjing college a little “American” boy whose father was a CEO of an oil company came into campus and was handed some sort of shooting weapon in which the child later used to shoot “nesting herons” around the area. At first glance of this artwork, one thinks of birds and death, because of Ting’s choice of using skeletal wings of birds and choice off bland dark color.
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