Sirui turns the lens on herself
Beijing-born, London-based photographer Sirui Ma wearing our Reef and Cosmos Necklace, reflecting on being both behind and in front of the camera, memory and being made of many cities.
Sirui's debut book, Subway Portraits, turned her lens on New York's MTA conductors. For SA World, she turned it on herself instead - capturing our necklaces on a trip to Marseille.
Both your photography and my jewellery/objects come from a similar instinct, noticing small, easily overlooked beauty and turning it into something worth capturing. Does that instinct change at all when the camera's pointed at yourself rather than someone else? Naturally I think I am a bit more self conscious, particular, and perhaps even a bit critical when the camera is turned towards me. I’m learning all the time to appreciate every part of myself, some days it’s harder than others, but I do think in a time where it feels like a cookie-cutter “perfect” appearance is constantly being sold to us, it’s an act of rebellion to love yourself as you are.
You tell stories through images, I tell mine through glass and metal. What drew you to the piece/pieces you chose and how did it find its way into the way you photographed yourself? I like jewellery (and clothing alike) that isn’t overly loud, so it can be one puzzle piece of an outfit and not the entire look. The two pieces I chose felt very me, quite simple and quiet.
Last thing you photographed just for yourself, no client, no brief? I have such bad memory, sometimes I take a picture of something and forget about it until I develop the film. It’s kind of like a little surprise gift for myself… So the latest thing I actually don’t remember! But not long ago I printed pictures of a rusty car with faded paint that I really love. The degradation is quite beautiful.
You grew up between Beijing, New York and London. Our pieces also pick up bits of different worlds: designed in London, handcrafted in Barcelona. Do you think growing up across different places shaped the way you see things? Definitely. I am the sum of all the places I have lived in — in terms of culture, personality, etc. Having moved so much has made me very nimble in my ability to assimilate and understand a place and where I can fit within it, and I’d like to think that it’s also given me the capacity to meet and receive people from all walks of life.
Your work spans deeply personal projects like the Subway Portraits book and commercial campaigns for brands like Nike and Rimowa. How do you hold onto that same sense of intimacy and connection no matter who you're shooting for? This is something I try really hard to hold on to - How can the image maintain my voice despite it being for a client? How can I express this in a way that still feels personal to me? How can I interpret the work of others but have a piece of me in it as well? I think it is about a level of emotional investment and care, to create a visual narrative that can hold space for myself and others.
Last book that stuck with you? I recently revisited The Book of Delights by Ross Gay. It’s really simple and beautiful and resonant to the way I live, to always take note of the small beauties in our daily life. I like to remember the delights I encounter as well, usually writing it at the end of the day in my journal or in my notes on my phone.
That same instinct carries into a project of her own - a book of over ten years of daily snapshots with her friend Florine Bonaventure. It's almost finished, and she's hoping it'll be out by the end of the year.