Maxine Taylor Fine Arts

The meaning of art (in its various forms) is often interpreted in different ways.  A visual artist can create with one or several motivations driving his/her talent.  The design of this quest may be obvious or enigmatic.  It could be bold or serene.  Whatever the artist’s intent within the work, the viewer’s heart and mind may still uncover a personal message of their own.

Take for example my painting, Guardian II.  It has been described as the birth and yes… death of an urban culture.  I’ve heard rumors of an ominous figure lurking inside, his long arms and defensive stance suggesting calamity.  Some have sensed the excitement and activity of a celebration emanating from glowing windows within. Others have just remarked on how fascinating it is.

So what does this mean to me?  This painting was created during the late 90s after I left suburban life for the hustle and bustle of Baltimore City.  It was the culmination of many thoughts and feelings during that time.  When I create a work of art, it is often nostalgic, filled with frenzied emotion and quite personal.  It begins in one reality, but can always progress to another. 

In January 2012, I sold Guardian II to a photographer, whose lenses undoubtedly capture frames of reality in varied subjects.  This painting means something to him that is different for another observer.  Remember, with each glance we attempt to draw closer to the artist and their subject(s).  When exploring my work, I encourage you to begin at the surface then discover your own personal connection within its depths.

Phthalo, Azure, Cobalt, Ultramarine… the list goes on. For some, they’re all just blue, but the artist tends to probe a little further.  Blue’s meanings are as vast as its visual variations. I’ve heard it linked to healing, happiness, clarity and peace. Its darker shades can be associated with moodiness and despair. Yet when I think of blue, I think of a great expanse filled with endless possibilities and wonderful depth.  This color has inspired me to free subjects and spaces in my work, allowing everything bathed in blue to ebb and flow with an unseen tide. 

Ready to discover blue again?  See more with A Touch of Blue.

In 1997, alongside of my work with the black and white figure paintings know as “Urban Views”, I created a set of works using geometrical shapes and textures  featuring one or more of the following elements: spheres/circles, squares, and cross-hatching.  Combining these shapes, textures and intense color selections resulted in the paintings seen here.  Though each painting has certain commonalities, they possess different themes. 

For “Sonoma Cascade”, I began with thoughts of my native California, imagining not only the fine vineyards there, but also the surrounding terrain.  Broad earthy tones contrast a rustic black vine cradling bulbous fruits within a loose net of cross-hatching.  The glowing orbs hang heavy and robust while resisting gravity’s constant pull.  A splash of cool blue brings hydration to the scene.  The organic nature of this painting appeals to the basic senses.  One can almost feel the communion of earth (hunger) and water (thirst) elements as both the frustration and elation of growth plays out before your eyes.   

They say you can’t fit a square peg into a round hole, but in “Squares and Circles” I sought to mesh soft curves with sharp angles.  The idea was not necessarily to force harmony among the shapes.  I preferred to revel in the juxtaposition of the objects, creating a striking social image using vibrant color, textural patterns, and eccentric positioning.  The cross-hatching pattern seems to herd the circles into the company of the squares.  The wide black strokes on the outside corral all the shapes together. Are the squares outnumbered and at the mercy of the circles or is this a gathering of two blood lines mingling as one?  At its core, this painting is alive with “neon” freshness and dramatic thought.

Finally, “Volcano II” sprang from a sister painting.  The element of cross-hatching is more prominent in its fabric.   The color palette is also brighter, reflecting the climate of the subject matter with orange conveying heat or daylight, green and sienna as earth and blue the ever abundant element of water.  Small circular entities are seen throughout the painting as well as angular features (plateaus, shifts in the horizon).  Interpretations of this painting vary.  Some take the literal course (imminent disaster or calamity)while others including myself embrace the abstraction with imaginative fervor.

Giclées by Maxine Taylor

Our giclées are high-quality reproductions of original Maxine Taylor paintings. Each giclée is printed individually from a high resolution digital file. We only use archival inks and papers during the printing process. This ensures that your purchase stays vivid and colorful for many years to come.

Not much wall space? On a budget? No problem. Our giclées are a compact and affordable way to acquire a work of fine art by Maxine Taylor. Best of all, there are many paintings available for giclée printing. Just tell us which painting you’d like printed and we’ll be happy to assist you.

For more information on giclée printing and pricing, contact us at maxine.taylor2@gmail.com

The other day, I glanced out of the window and caught sight of the beautifully full cypress in my garden. Its velvety shape put me in mind of this painting, Monhegan, The Last Forest. Looking at the image, I couldn’t help but wonder, “Is there a White Spruce or Douglas Fir inside waiting to be decked in tinsel and ornaments?” What a warm and festive thought.

Whether you’re anticipating gifts under the tree, celebrating the Festival of Lights, observing the rituals of Kwanzaa or more, I wish you and yours a joyous holiday season.