Maxine Davidowitz
West Shokan, NY
Website
maxinedavidowitz.com
How would you describe your work?
My work is an abstract and intuitive response to the natural world. I use a loose, painterly approach to mark-making, with hard-edged geometric forms providing a contrast with the painterly textures, and often suggesting an awareness of the challenges humanity has imposed on the environment. My obsession is with the details and textures of nature: branches, vines, leaves, and other organic forms, but I let the application of paint guide the process. Color is deeply important to my work, and I lean towards vibrancy, but am delighted by all value/hue/intensity contrasts, from deep neutrals to the most brilliant hues.
What inspires you?
I live in a rural part of New York State, surrounded by meadows and woods. My studio looks out on a field backed by the Catskill mountains. There is no more thrilling inspiration to me than a simple walk down my road, in any season, any weather. I am also part of a wonderful group of artists who belong to the Woodstock Artists Association & Museum, and my volunteer work there as chair of the board has brought me into contact with hundreds of artists in the Hudson Valley region, all inspiring to me.
Can you speak about your process?
I usually start a painting with a scene from nature in the back of my mind, either from a recent photo or just a remembered image. I use very large brushes, scrapers or a color shaper (a cross between a spatula and a brush) to fill the canvas with marks. I love the accidental shapes that emerge. Rarely does a painting end up resembling the original scene, sometimes even being turned upside down, layered, scraped back and layered again. An invaluable tool is the Procreate app on my Ipad where I experiment with possible next steps. Recent works all involve the addition of flat, hard-edged shapes, either orbs or rectangles or squares, that require some planning and taping to create. My concern about the environmental crisis has led me to a series—Planet Elegies—that deliberately obscure an idyllic depiction of nature with a black or neutral shape, hinting at the loss we are in danger of experiencing. As a painter inspired by nature I feel it is urgent for my work to contribute to this conversation, even in a small way.
How did you become interested in art?
I can't remember when I didn't draw or paint or play with imagery (loved my pinup paper dolls, and "Learn to Draw with John Gnagy"!). My mother was a 'Sunday painter' too, and I took private drawing lessons as well as school art classes, summer camp crafts, etc., all through my childhood. I was just always the girl who did 'art.'
Do you have any favorite artists, movies, books, or quotes?
Too many artists to mention! The big guns: Joan Mitchell, Helen Frankenthaler, Georgia O'keefe, Matisse, Gerhard Richter, Lois Dodd, Monet (late life), John Singer Sargent. My Instagram 'saved' folder includes hundreds of works by current artists I admire: Amy Sillman, Elizabeth Condon, Deborah Zlotsky, Joanna Logue, David Hornung, Donald Elder, Sarah Hinkley, Annie Lapin, Robert Szot, Daisy Parris, Leigh Wells, and on and on! My favorite quote? Steven Sondheim via Sunday in the Park with George: "If it comes from you, it's new."
What advice do you have for younger artists?
Having returned to a painting practice only in my 60s after a career as a magazine art director (that's another story) I'm not sure I'm qualified to give advice to the young. But to anyone working at any stage, just do the work that pleases you, that intrigues you, that scares you a little. The joy of being an artist (I know this deeply after pleasing editors and clients for many many years) is that you are doing it for yourself, and no one else. Sales and social media likes are great, but in no way guide what you do alone in your studio. The more YOU your work is, the better it is. (see Sondheim quote, above.)
