This energetic chartreuse abstract work challenges the distinction between painting and sculpture. Elegant, architectural, and contained on the one hand, it speaks to energy, light and movement.
Lucy Maki lives and works in Albuquerque, New Mexico. She has exhibited nationally and in Canada and Mexico. Her paintings are in the New Mexico Museum of Art, Santa Fe, the Albuquerque Museum of Art and History, and the University of New Mexico Fine Art Museum, as well as many distinguished private collections. She earned an MFA, with distinction, from the University of New Mexico. Her work was shown for many years at Linda Durham Contemporary Art in Santa Fe and New York. Maki's art ranges in scale from large shaped oil paintings to miniature constructions and encompasses a wide variety of processes, including poured paint, metal and wood assemblage, and collage.
She is currently represented by Oeno Gallery in Canada, and Exhibit 208 in Albuquerque, New Mexico.
Oil paint is applied to gessoed canvas, and/or hardboard, gatorboard, wood, aluminum lithography plates. Xerox transfer, paper collage, and/or "found" hardware is sometimes incorporated. Alkyd resin is used as the painting medium and replaces the traditional linseed/damar mixture. A wide variety of techniques are used in applying/removing the paint, with any number of tools imagined. After the initial shape of the piece is determined, preconceptions are discarded and a dialogue with the work determines what comes next. Every action taken is an attempt to see more clearly what is going on until disparate elements form a harmonious whole. When the work becomes self-evident, it is basically resolved, finished, and named.
"Resolute and assured, Maki's paintings are as much states of being as they are works of art." -- Valerie Gladstone, Art News, December 2003