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.”
In a process closely akin to relief printmaking, Maine uses textured surfaces to apply fluid acrylic paint indirectly to prepared canvas. He makes these surfaces or “plates,” some of which are quite large, out of common materials such as plywood, extruded foam, plastic and glue.
Integral to the process is the idea that the entire surface is treated with paint at the same moment. For Maine that means compositional phenomena are allowed to occur with minimal interference from his ego.
For this work, Maine is using a gentle palette.
The pale ochre field of dots is a something of a callback to the Halftone Paintings, and the superimposed system of veins is an element he uses infrequently, though Maine loves it. The way it parts in the middle and opens up was a happy accident.
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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,
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