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Artist Statement 4/2009 For a number of years, I've been intrigued by Goethe's (1749-1832) aesthetic that the artist's function is to make visible the hidden laws of nature by creating a parallel order. The beautiful is a sensory phenomenon in the form of an idea, not an idea in the form of a sensory phenomenon. So one does not seek to give form to an idea, but one seeks the idea that corresponds to the form. It's about finding. This body of work explores the workings of the intuitive mind in conjunction with the shaped canvas and the fluidity of paint in the way it's applied either with a squeeze bottle or poured. The process of working becomes a reconciliation of structured geometrical, architectural shapes with a spontaneous, less structured painting event and its residual lines and shapes. The relationship between the two: the structured/unstructured sets up a dialogue where one finds a resolution to opposition and meaning through the process itself: building and painting - painterly architectonics. Painterly Architectonics was first used at the beginning of the last century by the Russian Constructivists in reference to the connection between painting and architecture. Their paintings became examples of a pure spatial articulation defined by materials. Elements would solicit a perspectival reading while simultaneously defying it. Popova, in 1918, wrote: "…A transformed form is an abstract one and is completely subject to architectonic necessity and… to the general constructive objectives. The artist gains complete freedom in absolute nonobjectivity, orienting and constructing the line, plane, volumetric elements and color weight." It became evident that a subject is unnecessary in painting. One can experience great joy just seeing colors and lines and satisfying an instinct for harmony and the communication of beauty (the mystery of life.) The works in this show, use blocks of color to structure space and give a definite sensation of orange (confident), green (nurturing), gold (transformational), blue (inspirational), black (mysterious, protective), energy coming from the painting. Further, the paintings suggest a cosmic floating sense of space with their loosely patterned grids and atmospheric gradations. Lines and planes are used to open up space. In the framed miniatures, this aerial sense of space is translated into a feeling of intimate immensity. Visual elements suggest and are juxtaposed to function rather like a Haiku poem.

Artist Statement 2007: The Space Between Letters The title of this show is The Space Between Letters. Our culture relies so much on conceptual thought, text messages, and the soundbyte, it is important to remember to open ourselves to what we see before we name, describe, compare, define, categorize, and analyze -- to focus on that, as it is, prior to words. In this show, some of the paintings incorporate letters, the negative space of letters, or the gestures of writing, all representing language as pattern and rhythm before meaning has been assigned. Although the text is in English, it has been reassembled to be suggestive of other languages from different times and places. The Work: Using geometric form, a limited palette, and qualities inherent to the properties of paint, the paintings become a form of concrete figuration. Harmonic orders are created from balanced fields of tension across the surface of the canvas, which may or may not include a low relief. A purely abstract order may develop into an arrangement that identifies with the objective world; or the painting may take the form of a paradigm in a purely formal arrangement. In either case, the art work becomes a spacious presence suggestive of a transcendent universal harmony which one senses within one's self or discovers in the outside world. The Painting Process: I work on twenty or more paintings at once. Each piece suggests another piece or how to finish a previous piece. There is a constant dialogue between the paintings as the body of work moves towards resolution. During the process of painting, I keep myself open and receptive to what the work suggests. Each piece starts with a question. I try never to force or come up with an answer but wait until the solution comes to me. I follow where my energy pulls me. The work moves at its own pace and some paintings may rest for six months or so while other paintings come into being and from which the answer to an unresolved question may suddenly take form. I liken the process of painting to a form of prayer/meditation because it is a constant process of surrendering the ego, all one's preconceptions, likes, dislikes, judgments, goals, so that one is in a state of complete receptivity and openness. One develops faith in the process.

Framed Miniatures 2005-2007 This series explores permutations of an oblong rectangle or square in conjunction with various tactile and painterly surfaces. The pieces function as studies for larger paintings as well as standing alone as finished works. The subtractive/additive construction process of using wood strips to define absent rectangles gives the miniatures an architectural or built feeling of space suggesting parts of interiors, floor plans, walls, gardens, windows. In some of the pieces, ornamental design elements and embellished surfaces allude to the traditional use of decoration for spiritually transcendent purposes. Open spaces of intensely worked paint, as well as the focus involved in each piece, play off the idea of an intimate immensity and magnification of the imagination.

Artist Statement 2005 I begin a painting from a quiet place. The painting process develops a spatial relationship that I am intrigued to see on canvas. I like to have a number of works in progess so that a dialog exists between them. Elements are added and subtracted as suggested through the process of painting. Sensuous surfaces, subtle, unexpected uses of color, and a variety of techniques evolve. Sometimes three-dimensional elements are added to create a tension with illusory painted spaces. Breaking the rectangle format helps to give each piece a unique and particular presence. The paintings are to function as a retreat from the speed and brashness of contemporary life.

Statement Concerning the Work, 2001 I frequently start with a sketch involving some kind of spatial/shape sensation that intrigues me and would be fun to paint. After the initial impetus gets translated to the canvas, there is a long editing process. I find that painting is a matter of listening and keeping the mind receptive and fully in the present moment. Each piece has a voice of its own suggesting things I hadn't anticipated. It is the unexpected and incongruous elements that excite and fascinate me in the work. A painting is successful for me when it attains harmony simultaneously with that element of surprise. The finished piece makes clear to me the intrigue I had at the beginning. One could say the title summarizes the piece, and the irregular shapes or "frames" give the viewer a foothold in the painting. A situation is set up where the content may actually begin or is in the framing device, even though these extensions are added and/or subtracted at any point along the way. I also use as many techniques, additives, and ways of applying oil paint as possible so as to create a surface that entices the viewer and accentuates the process of looking.

*Appended Artist's Statements 1987-1999

Copyright©2001.Lucy Maki. All rights reserved.