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 likes this painting for the figure/ground reversal: the green blotches are formed by gaps in the blue, which is laid on top.
This is another painting in which the scale is ambiguous—intergalactic and/or microscopic.
From the artist’s studio