Marisa Müsing
Marisa Müsing (she/they) is a transdisciplinary artist, researcher and cybernymph exploring relationships between the body, digital identity and archaeological history, and expressing ethereal feminist ideals through digital and sculptural media. Their work explores blurred boundaries of the body, identity and digital space, fostering ethereal opportunities for growth.  

They are currently pursuing a PhD in Architectural Research at the Royal College of Art that reinvestigates Pompeiian frescoes through a queer cyberfeminist lens. 

Marisa has presented works at Royal Academy of Arts London, Salone del Mobile Milan, New York Design Week, Filet Space Gallery London, Nuit Blanche Toronto, Softer Digital Copenhagen and Maison et Objet Paris. They have been featured in Glitch Magazine, Hypebae, WGSN, Dezeen, Vogue, and the New York Times.

Marisa co-runs two design collectives, müsing-sellés (furniture & architecture) and mamumifi (objects & art)

Marisa is from Tkaronto/Toronto, and currently lives between London and Paris. 

contact
email: marisa.musing3@gmail.com
insta: marisamusing
CV: click here
indexdigitalphysical

Ginger Chimes

sculpture, mamumifi, Joys, 2024

Encased Lunar Bloom, photo by Marisa Müsing, 2024
Joys Gallery exhibition space, photo by Marisa Müsing, 2024
Beetle’s Lament, photo by Marisa Müsing, 2024
Beetle’s Lament, photo by  Dhvani Ramanujam, 2024
Beetle’s Lament, photo by Marisa Müsing, 2024
A Dormant Seed, photo by Dhvani Ramanujam, 2024
A Dormant Seed, photo by Marisa Müsing, 2024

Ginger Chimes presented at Joys (Toronto), presents a new body of work spanning sculpture, textile, metallurgy, silverwork, painting and installation. Exploring individual and shared experiences with AAPI (Asian American Pacific Islander) identity and diaspora, Ginger Chimes explores growth, community, and tactility through a poetic vocabulary of forms. Using the medium of spalted maple wood, a series of abstracted sculptural ‘bodies’ are formed influenced by stories shared from AAPI experiences. Each body sculpture is enveloped in naturally dyed and pleated textiles, interweaving stories of body, identity and memory through the collaborative work. Akin to the rhizomatic roots of ginger, the logic of the work extends horizontally, forming numerous and nebulous connections that perpetuate balance and a spirit of interdependence.

Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.
Offered fragments of guests’ childhood and memories that
accumulated on a small chime on the outside of the gallery.

project by mamumifi
materials: spalted maple wood, dyed silk, silver, metal, beeswax

presented at Joys, 2024

Joys exhibition space, photo by Marisa Müsing, 2024
Chrysalis in Three, photo by Dhvani Ramanujam, 2024
Chrysalis in Three, photo by Marisa Müsing, 2024
Silver wall detail, photo by Marisa Müsing, 2024
Gallery detail, photo by Marisa Müsing, 2024
Where the Centipede’s Shadow Lays, photo by Jennifer Laflamme, 2024
Where the Centipede’s Shadow Lays, photo by Jennifer Laflamme, 2024
Blinking Rhizome, Joys Gallery, photo by Marisa Müsing, 2024
Blinking Rhizome, Joys Gallery, photo by Marisa Müsing, 2024

Meet me by the Pixel Stream

multimedia work, with Grace Wardlaw, Xpace Cultural Centre, 2025

exhibition text, xpace cultural centre, 2025
Lily’s tears, glass and metal, 2025
Lapping the nectar puddle , glass, metal, 3D animation, 2025
I see myself in her, glass, aluminium, 3D animation, iphone, 2025
photo credits Grace Wardlaw.
Seed pods, glass, 2025
Goblin nymph, film still, 2025
I see myself in her, glass, aluminium, 3D animation, iphone, 2025
I see myself in her, glass, aluminium, 3D animation, iphone, 2025
exhibition text, xpace cultural centre, 2025

Meet me by the Pixel Stream explores topics of body identity, femininity and queerness through a multimedia installation. Inspired by the sapphic-coded fable “Goblin Market” (1862), the project is a translation from poetry to sculpture, creating a new sort of fable on the female body and its representation in a post-gender, digital world. Through the mediums of glass, metal and projected digital animation, the work aims to materialise how the feminine body and sexuality have been depicted through symbols and connections with the earth and water, imagining future body forms and environments as they connect to digital queer space. The work ties into concepts of alternative identities through digital landscapes, nature, ecofeminism, anthropomorphic seduction and transhumanism.

materials: metal, glass, 3D animations

presented at Xpace Cultural Centre, 2025
for the exhibition, I want you to see this, curated by Agnes Wong. 

At water’s edge, glass & metal, 2025
photo credits Alison Postma
Lily’s tears, glass & metal, 2025
photo credits Alison Postma
exhibition image, 2025
photo credits Alison Postma




Naia Lamps

furniture, mamumifi, Asian Arts & Culture Trust, 2023

photo by Kristina Dittmar, 2023
photo by Kristina Dittmar, 2023
photo by Jennifer Laflamme, 2023

The Naia Lamps are playful sculptural pieces inspired by fabric pleating, bodily forms, and soft sea creatures. They have fleshy silk structures made of naturally dyed silk that is pleated and folded in place with a silicone finish, allowing that movement to be captured permanently.

materials: silicone, naturally-dyed silk, metal
by mamumifi
photo by Kristina Dittmar, 2023
photo by Kristina Dittmar, 2023

Presented for The Bitten Peach, Asian Arts & Culture Trust, 2023
& A Pond’s Chorus, 100% Silk Gallery, 2023



Marble Tablet and Fleshy Keys

sculpture, Filet Gallery, 2024


materials: silicone, metal, marble, brass

presented for Mimicry & the Villa of Mysteries, Filet Gallery, London, 2023
& i want you to see this, Xpace Cultural Centre, Toronto, 2025
Everyone Is a Girl, Zine on Seduction, 2024
Softer Digital London, 2024
Summer Showcase, British Academy, London, 2024



Laced Bodies

glass, müsing-sellés, Nomad Circle Venice, Chamber Gallery, 2019

Nomad Venice, photo by Mishael Fapohunda, 2019
Nomad Venice, photo by Mishael Fapohunda, 2019
Nomad Venice, photo by Mishael Fapohunda, 2019
Nomad Venice, photo by Mishael Fapohunda, 2019
Nomad Venice, photo by Mishael Fapohunda, 2019
Nomad Venice, photo by Mishael Fapohunda, 2019
glass illustration, 2019

Laced Bodies takes inspiration from the human figure and the formal language of coupling limbs. It investigates the material behavior of glass when it is bent and wrapped in order to mimic the human body. The deformations of the glass have a resemblance to linking body parts, such as laced fingers, crossed legs, and twisting arms. Each work consists of a pair of two vessels; the folds and bends of one glass limb is reflected in its couple, fully embracing its partner. Each vessel is made bespoke, making each pairing unique.

material: glass
work by müsing-sellés

presented for Chamber Gallery, Nomad Circle Venice, 2019
& Fabula Gallery, Moscow, 2021
Rosie’s Party, London, 2021



Stuck in the Motherboard

film, Cloud Tales: Softer Digital, 2023

Stuck in the Motherboard, 8 min, 2023


The project Mimicry & The Villa of Mysteries is a cyborg re-analysis of ancient frescoes in Pompeii, Italy. Working with AI to generate new identities for characters painted in Room 5 of the Villa of Mysteries, the work aims to translate our patriarchal histories to build new queer cyberfeminist perspectives that can live beyond the walls of the ancient fresco. In the film, Stuck in the Motherboard, one of the women is an artist who is trapped inside of an egg-shaped computer that that she sees as her mother. She reviews her life as she speaks towards her mother in the computer womb, gazing at the fractal stream of screens surrounding her.

               As a queer Asian woman, the designs take on elements from personal experience. The Kneeling Woman wears a cheongsam and exists in a hyper-real fluid dreamscape of screens showing different versions of herself reflects on personal experiences being mixed but wanting to find a sense of belonging to my asian heritage, and feeling more connected when existing online. The project explores the softscape of the digital and the opportunity to feel connected to all aspects of your identities on the internet. It is a visual investigation into how we can critically perceive our digital identities and design new spaces for our gender fluid, transversally thinking, physically-transcending bodies to exist.
Softer Digital, Cloud Tales, Copenhagen, 2023
MMMAD Arte Digital en la Ciudad, Santa Monica Films, Madrid, 2024
MMMAD Arte Digital en la Ciudad, Santa Monica Films, Madrid, 2024
film still, 2023
presented for Softer Digital, Cloud Tales, Copenhagen, 2023
& MMMAD Arte Digital en la Ciudad, Madrid, 2024
Softer Digital London, 2024
Pasts to Come, Curiousity Cabinet, London, 2024
Èter Space, Etereal Maison, London, 2023
Urban Space Gallery, Nuit Blanche, Toronto, 2023
RCA Degree Show, Truman Brewery, London, 2023





In Conversation with Four Women

interview, Filet Gallery, 2024

clip from interviews with Frederika, Hanna, Lydia & Noelle, 2023
screenshot from interviews with Frederika, Hanna, Lydia & Noelle, 2023

In conversation with four women: an archaeologist, an architect, a forecaster, and a coder. On the ideas of cyberfeminism, identity, and the future of architecture from their perspectives. 

presented for Mimicry & the Villa of Mysteries, Filet Gallery, 2024



Domina’s Tapestry

tapestry, Filet Gallery, 2023

“When I dream of architecture I see myself in a vast ocean of probability and memory”
From conversations with the Domina, translated onto tapestry.
pattern created for the Jacquard loom, 2023
A tapestry made for the Domina figure in the fresco of Room 5 from the Villa of Mysteries, Pompeii. The image was inspired by conversations with the Domina using AI, in an attempt to revise the figure’s story and identity through cyberfeminist perspectives. The tapestry was made on the jacquard loom, using similar binary coding as early computer systems to translate pattern to image. 

materials: tencel, sequin & cotton thread

presented for Mimicry & the Villa of Mysteries, Filet Gallery, 2023
& RCA Degree Show, Truman Brewery, 2023


A Building in the Shape of a Teardrop

sculpture, Filet Gallery, 2023

exhibition Filet Gallery, 2024
exhibition Filet Gallery, 2024
exhibition Royal Academy of Arts, 2024

material: 3D printed resin, metal

presented for Mimicry & the Villa of Mysteries, Filet Gallery, 2023
& Summer Showcase, British Academy, London, 2024
Crunch, Royal Academy of Arts, London, 2024
Pasts to Come, Curiosity Cabinet, London, 2024
RCA Degree Show, Truman Brewery, 2023



Malavisch’s Mirror

sculpture, Filet Gallery, 2023


Inspired by Etruscan mirrors, the mirror for Malavisch was made for the Bride figure in the Villa of Mysteries frieze. The mirror’s illustration was inpsired by the translated narratives written with the figure using openAI. 

material: etched brass

presented for Mimicry & the Villa of Mysteries, Filet Gallery, 2023
& Summer Showcase, British Academy, London, 2024
Crunch, Royal Academy of Arts, London, 2024
Pasts to Come, Curiosity Cabinet, London, 2024
RCA Degree Show, Truman Brewery, 2023