In a 2015 article in The Brooklyn Rail, artist and writer Tom McGlynn described the work of Stephen Maine as follows:
“Maine has an obvious formal control over his palette, due to a long-standing investigation of color, translucency, and the influence of color on the virtually shifting tectonics of “painting space”… This is a key to his practice. Color can directly engage the physiological mechanism of the eye while simultaneously initiating a string of associative logic in one’s random memory, and Maine’s paintings approach a critical boiling point at the admixture of optical reaction and the accidental, yet uncannily recognizable gesture.”
This work is from the Halftone Paintings series, which are made with a specialized printing surface that leaves a matrix of tiny dots in pattern similar to a photographic halftone.
Halftone is the method used in commercial printing to translate the continuous tone of photographic emulsion to a field of minute dots of varying size.
The Halftone Paintings somewhat resemble fragmentary enlargements of this kind of image.
Among the last of the Halftone Paintings, this work plays a rather sparse, blotchy application of neutralized blue-gray against a highly saturated (chromatically intense), brushed-on ground in greenish yellow.
In the presence of all that greenish yellow, the blue tint leans toward lavender. The painting could really be a tribute to Josef Albers, whose Interaction of Color (1963, 1971) is a landmark for painters of Maine\'s generation and earlier.
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Stephen Maine is an American abstract painter who developed an incredible process of art making that in return enables him to create visually stunning pieces.Read More
160 FERNHEAD ROAD,
United KingdomRead More
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