When I close my studio door behind me, I enter my own world with freedom to do whatever I want. There is no right or wrong — no judging or being judged. I am constantly busy working on art and even if I wipe off all the paint at the end of the day, I’m happy — it is MY work, done MY way. Fortunately, I enjoy the discovery, the accident and ultimately, the result. I use both additive and subtractive techniques which cause layers and textures to build up on the canvas, sometimes delineating and sometimes obscuring the final image
My paintings often include active brush strokes and quiet glazes that combined, depict landscapes buried within abstract imagery. This duality reflects the way I see the world and work within it, whether I’m hiking through a redwood forest in California, walking down a crowded street in San Francisco or Ouagadougou, floating down a river in Zambia or climbing a sand dune in Oman.
As I work, multiple layers of paint create texture and movement on the canvas that lead me forward. It’s this dialog that determines the direction in which my general idea or emotion will move. I find my own creative process reflected in Richard Diebenkorn’s words: “I can never accomplish what I want. Only what I would have wanted had I thought of it in the first place.”
Kenneth Baker, art critic of the San Francisco Chronicle, said, “Turneresque’ may not be too grand a word to describe the recent work of Bay Area painter Maxine Solomon. She packs her canvases with so much aesthetic information that they generate on their own the sort of pictorial storms and atmospheres that the British master of the sublime loved to conjure. She, however, has cast off the last vestiges of figure and subject and gone for sheer immersion."
Preston Metcalf Curator for the Triton Museum of Art in Santa Clara, CA states, “Her work is pure poetry and as such makes the viewing experience a true reward.”
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