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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.
Maine does not often read imagery into the Residue Paintings, but in this case he is reminded of footprints in the sand or snow.
The plate is a thick sheet of polystyrene foam, which he attacked with a claw hammer and a quantity of acetone.
From the artist’s studio