1. Maude MARIS
    Atelier 1, 2016
    Oil on canvas
    220 x 160 cm
  2. Maude MARIS
    Trois petites figures, 2016
    Oil on canvas
    120 x 90 cm / 42.24 x 35.43 in
  3. Maude MARIS
    Trois figures, 2016
    Oil on canvas
    62,99 x 51,18 in
  4. Maude MARIS
    Far west, 2015
    Huile sur toile
    160 x 130 cm
  5. Maude MARIS
    Voltes (dyptique), 2015
    Huile sur toile
    190 x 265 cm

    Collection particulière
  6. Maude MARIS
    Oracle, 2015
    Huile sur toile
    40 x 30 cm
  7. Maude MARIS
    Monologue, 2015
    Huile sur toile
    120 x 90 cm

    Collection particulière
  8. Maude MARIS
    Solar, 2015
    Huile sur toile
    190 x 130 cm

    Collection particulière
  9. Maude MARIS
    Novice, 2015
    Huile sur toile
    30 x 20 cm

    Collection particulière
  10. Maude MARIS
    Trois âmes, 2015
    Huile sur toile
    162 x 130 cm
  11. Maude MARIS
    Attique 2, 2015
    Huile sur toile
    24 x 33 cm
  12. Maude MARIS
    Vue d'exposition, Février 2016
    Thonon-les-Bains

    © Annik Wetter
  13. Maude MARIS
    Vue d'exposition, Février 2016
    Thonon-les-Bains

    © Annik Wetter
  14. Maude MARIS
    Loge, 2015
    Huile sur toile
    40 x 30 cm

    Collection particulière
  15. Maude MARIS
    Fabrique, 2015
    Huile sur toile
    40 x 30 cm

    Collection particulière
  16. Maude MARIS
    Attique, 2015
    Huile sur toile
    190 x 130 cm

    Collection particulière
  17. Maude MARIS
    Shelters, 2015
    Oil on canvas
    72.8 x 98.4 in
  18. Maude MARIS
    Les Robes brûlées, 2015
    Oil on canvas
    130 x 195 cm

    Collection particulière
  19. Maude MARIS
    Vue d'exposition, 2015
    Musée des Beaux-Arts de Rennes

    © Jean Manuel Salingue
  20. Maude MARIS
    Vue d'exposition, 2015
    Musée des Beaux-Arts de Rennes

    © Jean Manuel Salingue
  21. Maude MARIS
    Chimères, 2015
    Oil on canvas
    162 x 130 cm

    Collection particulière
  22. Maude MARIS
    Reconstitution, 2015
    Oil on canvas
    195 x 130 cm

    Collection Musée des Beaux-Arts de Rennes
  23. Maude MARIS
    La porte, 2014
    Oil on canvas
    195 x 130 cm

    Collection particulière
  24. Maude MARIS
    Faire fausse route, 2014
    Oil on canvas
    150 x 150 cm

    Collection particulière
  25. Maude MARIS
    Paysage blanc, 2013
    Polaires
    Oil on canvas
    130 x 195 cm


Introduction

Maude Maris has made a name for herself with her tranquil paintings halfway between landscape and still life. For her second exhibition at Isabelle Gounod Gallery, Maris presents her new project 'Foyer'. In these new works, painting, sculpture and architecture are even more closely aligned. Her ideas in this respect are definitely not restricted to the canvas. A scenography is staged specifically for the gallery space.

 

The artist has developed a specific practice. Small objects found on flea markets or on the street are cast in plaster. By doing so Maris can manipulate the object, give room to the unexpected by allowing little 'accidents' to happen, and preserve the texture. Children's figurines, kitchen utensils, statuettes of the Holy Virgin or a dog's head, anything can offer an interesting shape. The artist is interested in the transformation of the object. Formal analogies are key: if the dog's head is turned ninety degrees, it suddenly seems a molar; if a figurine is decapitated, it resembles a landscape; a dolls arm corresponds to a branch; Virgin Mary's pleated dress to a rock. Lately Maris has started to cast natural elements like small branches or stones that she gathers from her direct surroundings. To complete it, she sometimes uses rocks or fossils directly, without casting them. In the paintings all these objects come into play: casted natural and artificial objects and real, natural objects.

 

Each painting is the result of an elaborate process: collecting objects, casting them, create a composition, photograph it and finally paint the photograph. Each step adds a new layer of distance and flattens the objects. This detachment is enhanced by the painting technique. The brushstroke is discreet and the objects are translated into artificial pastel colours. However, the palette is changing: black and greys have recently made their entrance. On the whole, the use of three-dimensional software in her early work has left its mark on her current work. It has caused this artificiality and a smooth and plain aesthetics. Maris applies the stroke, the shadow much used in computer programmes to suggest depth, to pin down the object in the undefined space.

 

At first the objects were depicted in a neutral, white room hinting to both the museum space and the living room, and thus to the sculptural or utilitarian function of the depicted objects. The space has opened up now that these three walls have disappeared. The (faint) horizon is the only suggestion of space. As a result the depiction floats between a landscape and a still life.

 

Clearly sculpture is very present in Maris' work. Not only in the working method (the casting of objects) but in her subject matter too: the focus on shape. As said before, in her paintings the objects hover to and fro an autonomous, sculptural position and utilitarian use. Since 2010 the painted shapes have stepped out of the canvas and have materialised in real space. The recent solo show 'Nemeton' in Musée des Beaux-Arts in Rennes (2015) for example presents an installation (paintings and sculpture). Like her paintings, the sculptures are made with an economy of means. The works in 'Nemeton' and in 'Foyer' explore both the early beginnings of architecture.

 

The source material that inspired this new body of work are drawings from the Middle Ages to the eighteenth century that depict how nature lies at the basis of Greek temples, for example tree-trunks became pillars by simply cutting off the branches; in the same vein abbot Laugier promoted in his 'Essay on Architecture' (1753) to renew architecture by returning to its origins, the publication contained an illustration of a primitive hut; and Mario Merz's stone slab igloos underline the relation between architecture and sculpture.

 

Maris mixes in her latest work her interests in antiquity, prehistory, primitivism and even fantasy. Stones, rocks, branches, fossils and other shapes that are part of Maris' vocabulary are stacked, piled and arranged in a simple and straightforward manner. The compositions evoke associations with Stonehenge, Greek temples, pyramids, primitive huts and fireplaces. In her solo show 'Foyer' the artist points that all these constructions share the universal and primitive gesture of stacking.

 

Nanda Janssen
Independant curator and writer

 

Maude Maris was born in 1980 in Caen, France.
She lives and works in Paris.