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 painting, Maine originally intended to apply additional layers of color, but the beautiful reddish blush near the top edge is just so nice, and he didn’t want to lose it.
Then he decided that it was enough.
Sometimes a painting reaches completion before you know it, so you have to remain alert to what is happening in front of your eyes.
This painting and P15-1028 were made using the same plate.
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About The Artist
Stephen Maine is an American abstract painter who developed an incredible process of art making that in return enables him to crea....Read More
About The Gallery
IdeelArt is an online only art gallery dedicated to contemporary abstract art, offering a representative selection of qualitative ....Read More
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