{"id":5419,"date":"2026-03-12T11:14:21","date_gmt":"2026-03-12T16:14:21","guid":{"rendered":"https:\/\/uwm.edu\/architecture\/?p=5419"},"modified":"2026-03-31T11:04:54","modified_gmt":"2026-03-31T16:04:54","slug":"inside-fitzhugh-scott-fellow-iris-mas-earth-material-research","status":"publish","type":"post","link":"https:\/\/uwm.edu\/architecture\/inside-fitzhugh-scott-fellow-iris-mas-earth-material-research\/","title":{"rendered":"Inside Fitzhugh Scott Fellow Iris Xiaoxue Ma\u2019s Earth Material Research"},"content":{"rendered":"\n

During her final semester as a Fitzhugh Scott Faculty Fellow<\/a> at the 51ÁÔÆæ School of Architecture & Urban Planning, Iris Xiaoxue Ma<\/a> is transforming the Jim Shields Gallery into an active site of material research.<\/p>\n\n\n\n

Rather than presenting a static exhibition, Ma has reconfigured the gallery as a working ceramic studio and Earth Material Resource Center, where she foregrounds material testing, spatial limits, and slow decision-making.<\/p>\n\n\n\n

\u201cCraft is an inherently slow process,\u201d Ma said. \u201cMy way of working involves extended periods of hesitation, testing, and reconsideration.\u201d<\/p>\n\n\n\n

Process as a shared resource<\/strong><\/h2>\n\n\n\n

Instead of treating that indecision as something to resolve privately, she makes it visible, allowing the process to unfold within the gallery itself.<\/p>\n\n\n\n

\u201cBy opening up the process and allowing it to be interrupted or disturbed,\u201d she explained, \u201cI make visible how decisions accumulate, shift, or fail under constraint and pressure.\u201d<\/p>\n\n\n\n

For Ma, the physical boundaries of the gallery are not incidental. \u201cLimits of space shape how choices are made and revised over time,\u201d she said. This semester, she thinks of her work \u201cprimarily as curating a set of conditions, tools, and materials, rather than producing discrete artifacts.\u201d<\/p>\n\n\n\n

The result is a space that operates less as a finished display and more as a laboratory for architectural thinking.<\/p>\n\n\n\n

What excites Ma most about this approach is the possibility of turning process into a shared resource.<\/p>\n\n\n\n

\u201cBy making my methods, tests, and material experiments visible, the work becomes something others can learn from, adapt, or question, rather than something sealed off as a finished result,\u201d she said. \u201cAccessibility, for me, means allowing people to see uncertainty as part of making.\u201d<\/p>\n\n\n\n

\"A
In addition to making her methods, tests, and experiments visible, Iris Xiaoxue Ma hosts workshops to engage students in materials research. | Photo by Tyler Lonadier<\/figcaption><\/figure>\n\n\n\n

Working with untamed materials<\/strong><\/h2>\n\n\n\n

That uncertainty is embedded in Ma\u2019s material practice. She works with foraged local clay, paper porcelain, and recycled organic aggregates, materials that are deliberately fragile and responsive.<\/p>\n\n\n\n

\u201cI often say I choose these materials because they are free,\u201d she said, \u201cnot in the sense of costing nothing, but in the sense of being untamed.\u201d She describes them as \u201cferal materials that misbehave, vary from batch to batch, and offer no guaranteed results.\u201d<\/p>\n\n\n\n

Rather than attempting to impose control, Ma frames her work as a negotiation. \u201cInstead of asking, \u2018How can I control this material?\u2019\u201d she said, \u201cI ask, \u2018What kind of relationship can I build with it?\u2019\u201d<\/p>\n\n\n\n

Because these materials are locally sourced and variable, they \u201ccarry local and temporal specificity\u201d and \u201cresist the idea of universal, standardized solutions.\u201d That resistance, she added, \u201coffers an element of surprise, which is important to me.\u201d<\/p>\n\n\n\n

Material practice and architectural thinking<\/strong><\/h2>\n\n\n\n

Ma sees clear parallels between this material practice and architectural thinking.<\/p>\n\n\n\n

\u201cArchitecture often privileges control, efficiency, measurement, and repeatability,\u201d she said. Her interests, by contrast, \u201clean toward fragility, uncertainty, and instability\u2014qualities architecture typically seeks to constrain or minimize.\u201d The intersection, she noted, \u201cis less about utility and more about perspective.\u201d<\/p>\n\n\n\n

Within the gallery, that perspective is evident in how materials, tests, and structures are displayed. Research artifacts are carefully arranged, emphasizing care and intentionality rather than spectacle.<\/p>\n\n\n\n

\"Neatly
Earlier in her fellowship, Iris Ma collaborated with students through the Support for Undergraduate Research Fellows program. Seen here are Wild clay ink and wild clay pastel drawings (left) in collaboration with Aurora Troncoso and paper porcelain explorations of local flora and fauna forms (right) in collaboration with Brecken Boelter. | Photo by Tyler Lonadier<\/figcaption><\/figure>
\"Circular
Wild clay samples from local rivers and Lake Michigan | Photo courtesy of Iris Xiaoxue Ma<\/figcaption><\/figure>
\"Piles
Small batch samples of wild clay. | Photo courtesy of Iris Xiaoxue Ma<\/figcaption><\/figure><\/div><\/div>\n\n\n\n

A culmination but not the end<\/strong><\/h3>\n\n\n\n

As Ma nears the end of her two-year fellowship, the exhibition serves as a culmination without closure.<\/p>\n\n\n\n

\u201cMy thinking has shifted from seeking resolution to sustaining inquiry,\u201d she said. Earlier in the fellowship, she was \u201cpreoccupied with making a coherent \u2018thing,\u2019\u201d but over time learned \u201cto value open-ended investigation and to resist the pressure to arrive at fixed outcomes.\u201d<\/p>\n\n\n\n

The decision to transform the gallery into an Earth Material Resource Center reflects that shift. It is, Ma said, \u201cnot as a final display of knowledge, but as a platform for shared exploration and ongoing inquiry.\u201d<\/p>\n\n\n\n

An evolving space for engagement<\/strong><\/h2>\n\n\n\n

Over the spring semester, the space will continue to change as she works in it, offering workshops and walk-in hours for students interested in hands-on material experiments.<\/p>\n\n\n\n

\u201cIf the space does anything,\u201d Ma said, \u201cI hope it recalibrates attention toward slowness, material origins, and the care embedded in objects and spaces.\u201d<\/p>\n\n\n\n

Visitors are invited to return, observe changes, and witness making as it happens.<\/p>\n\n\n\n

\u201cWe rarely witness how things come into being,\u201d she added. \u201cI hope visitors sense that making is not only about outcomes, but about relationships between time, matter, and care.\u201d<\/p>\n\n\n\n

\n\n\n\n

Story by Oliver J. Johnson<\/p>\n","protected":false},"excerpt":{"rendered":"

During her final semester as a Fitzhugh Scott Faculty Fellow at the 51ÁÔÆæ School of Architecture & Urban Planning, Iris Xiaoxue Ma is transforming the Jim Shields Gallery into an active site of material research. 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