Love These Paintings by Hildy Maze


“None of us can escape the habit of projecting thoughts and concepts onto reality itself…” Artist Hildy Maze

https://hildymaze.com

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I never get tired of looking at collages by Hildy Maze, a painter working from her Long Island art studio. What an inspiration! Just the right touch of shape, color and texture to bring about a change of consciousness.

 

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Do not be deceived by the seemly random marks and sporadic pigment impacts upon the page. These statements of line and color are the essential dynamics of a well orchestrated capture of life’s very essence.

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Folded, bent, pushed, scraped, painted, drawn, pressed, mashed, turned, twisted, toppled and compressed, these paintings have been through it. The process exposes the revelation, much as a lifetime journey reveals the core ideas, to those who are seeking.

 

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Accidental markings merge with bold intentions from the artist to express a state of mind both fleeting and lingering.

 

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Embrace the state of mind and then let it go.

 

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Hildy Maze Makes Mind Moves


Light Space & Time Online Art Gallery is very pleased to announce that Hildy Maze has been selected as one of the four artists of the gallery’s recent eighth “Solo Art Series” Art Competition.

 

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Hildy will now have a month-long solo art exhibition and she will be featured on the gallery’s front page, in the Gallery’s YouTube Channel, as well as in the “Solo Art Series” archive. See links below to access.

 

Artist Biography:

Hildy Maze is an American artist with Turkish, Russian, Austrian heritage. Born in Brooklyn, NY she received a BFA from Pratt Institute. For years, Hildy lived and worked in her loft in Tribeca, NYC before moving to East Hampton, NY where she currently works and lives.

Hildy is best known for her abstract contemplative oil on paper drawing, painting collages. In her messy paradise, which is her studio, Hildy explores mind and identity. Though her process of collage and the handling of materials she intimately describes how our active mind creates collages of thoughts and patterns, as in a dream. If we examine our thoughts, we can see they are fragmented pieces, empty of solidity. “None of us can avoid thoughts” she says, “but through awareness of our pitfalls, beauty, strengths, and weaknesses we can open windows into the mind”. The core of her contemplative art practice is to visually embody the blind spots as a result of our thoughts.

She is interested in the study of how the mind works as a means of gaining insight into how we communicate, how we create identity through form, emotions, and consciousness, and how we hide in that creation. She explains that essentially this work is about all of us and the empty, clear and unconditional nature of the mind we all have. When we know the nature of our mind we will know the nature of our world.

Hildy’s work is influenced by her long-time study and practice of Tibetan Buddhist meditation with Chogyam Trungpa Rinpoche. Her studio floor is covered with a vast tapestry of painted paper—ripped, aged, and often walked on for days or months. This, she says allows the process and rhythm of art-making to come more alive with spontaneity and unpredictability. Her work has a rugged, earthy, hands-on, living quality. The treatment of the paper lends to it an inherent living quality. Depending on the passing of time and light, it takes on various characteristics and a quality of accelerated impermanence as the paper ages and becomes fragile, not unlike those things we search for and cherish in an attic or basement, or even at an archeological site, or when retrieving a lost memory. An otherwise ordinary, insignificant quality becomes special. A fingerprint, wrinkle, rip, drip, or tear becomes texture and language. These abstract contemplative works were developed with the view that art has the capacity to infuse our experience with awareness of our inherent nature, and, along with their carefully chosen titles, invite viewers to move beyond the boundaries of the image into a more contemplative consideration of mind in relationship to the phenomena of what we consider objective reality.

An additional activity that informs Hildy’s work is her familiar, family-like relationship with a colony of Herring and Great Black-Backed Gulls she’s been feeding hard-boiled eggs to for 20 years at Maidstone Beach Bay. She says, “We know each other well, perching on my head and shoulders, surrounding me as if protecting the bounty they know I have for them. This ritual is filled with a sense of an intimacy with wildness. I’ve learned who is mated to who, each gull’s idiosyncrasies, who their chicks are, when they arrive at the bay in August, how they physically change from white to speckled depending on the mating cycle and season’s light and so much more”. Eventually, she would like to develop an installation called “lover of the open sky” based on this relationship with the gulls.

Hildy has exhibited her work throughout the U.S. including NYC, Long Island City, Brooklyn, California, and Beijing, China. She has won numerous awards and is in several private collections in the U.S, Europe and Asia.

Hildy lives in East Hampton, NY continuing with her study and practice of meditation, making art, and feeding the gulls whenever the weather allows.

 

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Artist Statement:

Years ago, a friend sent me the Prajnaparamita, known as the Heart Sutra based on realizing the non-conceptual simplicity of reality, “form is emptiness, emptiness is form”. Having a heightened interest about how mind works and how mind is, reading the Heart Sutra changed my life on the spot! Within a week I was practicing and studying Tibetan Buddhist meditation with Chogyam Trungpa Rinpoche, a Tibetan Buddhist meditation master and artist. I received ‘pointing out instructions’ from him which brings the investigation and recognition of mind’s flawless nature into personal experience cutting through conceptual obscurations that are our endless, dualistic thoughts and emotions.

My abstract contemplative work is completely informed by these realizations. My path of making visual images became the inner structure of mind and how its’ patterns of confusion obscure our recognition of this vast space of ceaseless energy. For ten years I studied and practiced meditation with Trungpa Rinpoche until his death in1987. Since that time my work has gone through a process of increased familiarity with how mind works and how to present that familiarity thru visual images.

The development of each piece is experiential using collaged drawing and painting on paper with disparate techniques and specific titles discussing how mind, when active, creates collages of emotional thought patterns, like in a dream. The images are intended to be intimate, yet not isolated since the activity of mind is the same for everyone yet personal because each of us is affected by our thoughts and emotions differently. The work is unrefined with an immediate, handmade, unprepared quality, working with the ordinary characteristics of the paper meaning rips, wrinkles, aging, fragile-ness and light sensitivity. A sense of impermanence representing our life progression.

My process is filled with discovery and surprise, playing an edge within myself with deliberateness and imperfection without conceptualization, trusting mind’s innate clarity. For me, oil on paper collage is the most responsive way to investigate the mind. Whether awake or dreaming, mind is like a collage, appearing as countless variations of thoughts and images, as an over-lapping unfinished aesthetic that embraces the unresolved, open-ended imperfections of living. Viewing mind and collage this way contributes to the hands-on realness of intimacy and immediacy of seemingly non-sequitur abstraction with a touch of representational expression.

 

I recall instructions from Trungpa Rinpoche, ‘art arises from a deep merging of mind and heart, seeing from within, drawing from pure awareness without visually grasping, beginning from uncertainty without reference point’. Drawing freely without visual judgment; spontaneous and personal, I use tools and techniques that are intimate and varied, anything that can make a mark with controlled spontaneity. I would like the images and titles to create an accessible, personal space, like hearing a familiar voice. The images can be viewed as individually framed pieces, or informally, closer to how they were made, simply pinned to the wall, or randomly together similar to how our thoughts arise, dwell and dissolve in a seemingly continuous, often unrelated stream. .

Essentially I view my work as an evolving inquiry. I continue to live, make art, and to study the principles of Buddhist contemplative philosophy, a pursuit not unlike cleaning the dust off the windows in a house in order to see the world and oneself more clearly and precisely, with less aggression and with more equanimity, kindness and humor. To view more of Hildy’s artworks visit her website;

 

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http://hildymaze.com

 

Check out this Fab video Presentation of Hildy’s work.

You Tube Presentation

 

Here are individual images of Hildy’s work.

https://www.lightspacetime.art/hildy-maze-solo-art-exhibition/

Many thanks to the Light Space Gallery for this story and images.    

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The Painting Journey Continues


Our painting Journey Continues with Nancy Hillis’ Studio Journey online abstract painting workshop. Her assignments help free up your expressive inspirations through exploration and self confidence. Growth emerges through experimentation. My own personal journey has opened up possibilities far beyond what I faced even weeks ago. Thanks Nancy!

Painting in a Series

Paintings in Memory of the Homeless


I share a studio with two other artists in Louisville Kentucky. We just recently had a very sad encounter with reality in the form of a homeless man who lingered constantly around our studio door. The story around this man unfolded in a series of tragic vinyetts leaving us all with a renewed awareness of the fact that the problems facing the homeless are, in fact, everyone’s problem.




 





Just posted! Latest Paintings by Janis Kirstein






These paintings and more can be purchased at https://kirsteinfineart.myshopify.com




Karen Jacobs: Remnants and Patterns


To look at the art pieces of Karen Jacobs is to experience the magic of the dance of organic movement against a stable time frame for reference. Through each window of a partial grid, one sees flickering moments captured in time. At once, the pieces reveal the moment against the continuum of time in a paradox of multiple juxtapositions. These pieces invite deep contemplation.

Jan Kirstein

 

Karen’s work is influenced by the Bokusho – “The term bokusho refers to abstract sumi-e or calligraphic drawings. My rice paper/ India ink gestures are torn, manipulated, collaged and incorporated into textured canvas paintings. ”  Karen Jacobs

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About the Art

“An ongoing interest in the linear juxtaposition of remnants and patterns has led much of my work to be classified as geometric abstraction. Organized by divisions which aren’t always precise and shapes which tend to stack and interlock, the work may remain totally abstract or venture into suggestions of landscape or other elements of nature.”

 

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“There is, perhaps, a seed of an idea when I begin but I am quickly directed by the work, answering the needs, sorting the puzzles and discovering solutions. I work with layers of thick and thin color, washed or scumbled over a textured surface. Traces are left by the pentimento of assorted mark makers and scrached or removed paint; lines are straight, curved or gestural, surfaces are wiped, dripped and spattered; all adding to an eventual sense of accumulation and the essence of time.”

 

 

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“Though most paintings are acrylic/mixed media on canvas, I often venture into other media such as oil, watercolor, encaustic and ink… in addition to other painting forms such as the structural boxes I call Pylons which may be either wall hung or free standing.”

 

 

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About the Artist

 

 

“The early years of my art education and career were pursued as possible, second to the needs of a mobile military family. A move to Washington, D.C. permitted both the time and opportunity for studies at the Maryland College of Art and Design and with outstanding local artists and teachers. My learning experience continued through both outside sources and personal exploration wherever we happened to be.”

 

 

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“From high detail realism to total abstraction, I’ve always sought my own way and allowed the work to develop independently. My preferred medium is acrylic as it allows the impulsive changes necessary to my process, but I’ve worked extensively in nearly all painting mediums from watercolor to oils and encaustics plus several original print processes.”

 

 

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“My professional career has included representation in numerous galleries from Santa Fe to D.C., New York to New Orleans, Memphis and Atlanta. I’ve competed and won awards internationally and my work is in private and corporate collections around the world. I currently live in Birmingham, Alabama.”

 

.karenjacobs.com

 

 

 

 

 

 

 

 

 

 

 

 

True Inspiration: Helen Frankenthaler


 

To honor and support the Women’s March in Washington D.C. this week, I am would like to give tribute to some of my fav painters who have inspired me for a lifetime. Today it’s Helen Frankenthaler.

 

 

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Helen Frankenthaler, Europa, 1957, Oil on unsized, unprimed canvas, 70 x 54 1/2 x 2 inches (177.8 x 138.43 x 5.08 cm) © 2016 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York.
Abstract Expressionism
Royal Academy of Arts
September 24, 2016 – January 2, 2017
This long-awaited exhibition reveals the full breadth of a movement that will forever be associated with the boundless creative energy of 1950s New York.

Traveling to:
Guggenheim Museum Bilbao, Spain
February 03, 2017 – June 04, 2017

 

Hartung and Lyrical Painters
Fonds Hélène & Édouard Leclerc pour la Culture, Landerneau, France
December 11, 2016 – April 17, 2017
The exhibition positions the work of Hans Hartung with artists of the 1950’s such as Georges Mathieu, Gérard Schneider, Hantaï, and international artists from subsequent decades, including Helen Frankenthaler.

 

Women of Abstract Expressionism
The Mint Museum, Charlotte, NC
October 22, 2016 – January 22, 2017
The groundbreaking exhibition Women of Abstract Expressionism celebrates the often unknown female artists of this mid-twentieth century art movement.

Traveling to:
Palm Springs Art Museum, CA
February 18, 2017 – May 28, 2017

Originated:
Denver Art Museum, CO
June 12 – September 25, 2016

 

 

 

 

 

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A Little Plug for my Justice Collection by Janis Kirstein. To see more click here.

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Collector’s Choice: Janet Jones


 

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“Rather than collecting beautiful materials for collage and mixed media, I look for those that have had a troubled past.

 

 

I want to draw attention to the innate beauty of the stains, foxing and velvety patina of old book pages and the grime and grunge of “road kill” papers rescued from the street. Sometimes these found papers are finished pieces with very little intervention on my part, and in other cases I distress papers by soaking, laminating, staining, scorching and sanding to give them still more history.

 

 

I take pleasure in giving these humble materials the loving presentation they deserve.”

 

Janet Jones, artist

comjanetjonesfineart.com

 

 

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