Maddy Rosenberg — Correspondances #2

Subject-wise, I am attracted to architecture, especially in its less than perfect state, and the uncanny. It is an affinity I believe based on the strong influences of my working class Brooklyn childhood, with the exposure to places such as Coney Island’s Steeplechase Park and the surroundings of the eclecticism of disparate old and new buildings side by side. For me, it becomes more than mere depiction, as even a building stands as the witness of subsequent periods from those who have lived their lives within, to those who have briefly passed through its walls. Organic or inorganic, my choices contain memories of a human touch and palimpsests of the past. In the work, I can mingle art historical references with the remnants of weathered statuary, pieces of crumbling architecture and street life through a window. Though based in Brooklyn, I also gather visual references from research residencies and my travels, photographing objects, architectural spaces and facades. I draw upon these images from the “real world” for the assembled compositions I use in my work, thereby changing their context. In painting, I have been dealing with the ideas of multi-panels for a number of years. With its sequential aspect, spaces fluctuate between the surface and glimpses behind it. I play with the idea of reality and the painted surface, moving between highly articulated images against areas of color. This juxtaposition of finely painted details broken by planes of color more clearly defines the abstract nature of the paintings, while simultaneously emphasizing the evocativeness of the imagery. The images become a hint of what once was, with the shapes of pure color a reminder of the identity of the painted surface. The small scale draws the viewer in to a world that is thought provoking, offering reality with a twist. I was first attracted to printmaking as a young artist, seeing it as the medium where I could explore drawing. Book art only seemed a natural extension of the thought process involved in formulating a related series of prints. But with a book, I could also deal with sequence of the multi panel paintings as well, while introducing an element of time. I could explore the world that hovers between the flat surface and three-dimensional objects. I have often played with this quality of the book as object, moving it into the sculptural and then returning it to a piece for viewing in the palm of the hand.

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