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Australian
Art Collector
Issue 36 April -June 2006 feature article
Marise Maas 'Animal Magnetism'
by Ashley Crawford pp112 - 119.
Working
from her purpose built studio at her home in Melbourne, Marise
Maas successfully juggles a rigorous painting practice
with her new role as a mother of two. Having children
makes life more precious and meaningful. The world is starting
all over again, right before your eyes. This act
of seeing and appreciating the everyday has been a central
theme throughout Maas painting career.
It
is within the rhythmic and gestural nature of Marise Maas
work that her ethos of pure observation becomes most evident.
Informed by a meditative response to the experience of the
mundane, Maas refuses to quantify the meaning and purpose
of her images. Rather, like the works themselves, the artist
allows her examination of form and matter to filter into the
structure of paint and line. Citing such masters as Susan
Rothenberg as her influences, Maas creates pictorial planes
that defy perspective and yet adhere to a compositional structure
informed by her formal training as a printmaker.
There is a sense of joy and celebration in Maas'
work, her lines responding to the essence of a thing
rather than to its implied meaning or value. Discarded
tin cans or baking tins carry the same weight and
value as a wild flower or a bird wing. This will
be Marise Maas’ sixth exhibition at Flinders
Lane Gallery. Her works are in numerous major
collections nationally and internationally.
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