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Selections by
the artist
from her contemporary
original paintings
...a changing
exhibition. |
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SPRINGTIME JAZZ |
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I have a collection of jazz albums titled "Jazz for a Rainy Afternoon", "Jazz for the Quiet Times", "Jazz for When You're Alone" and several others along this theme that have soft jazz music. Each album has a collection of artists -- impossible to list them all. I love to listen to these when I am painting and my most recent work of 2008 is inspired by this music particlarly in relation to the colors, the strokes and the markings. SPRINGTIME JAZZ is one of these. Can you feel the music as you view the painting?
If you would like to know more about my painting and what inspires me, check out my newly updated Artist's Statement on this website.
All paintings are on wrapped canvas and are 2.5 inches deep unless noted.
Paintings are listed below in groups according to series. |
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BLUE RAIN |
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BLUE RAIN is another piece inspired by jazz music. The background color is a greenish blue-gray that I could not quite capture with my camera. The strokes differ somewhat from SPRINGTIME JAZZ but still translate for me to rhythm and music. |
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SWIZZLED #1 |
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SWIZZLED #1 employs strokes of the palette knife that I have never used before. I call it my "swizzle stroke" and it is difficult because I try to pick up under layers of paint to combine with the top layers. I am so intrigued with this idea that I have tried several other paintings in different sizes and colors using this kind of stroke. This is the largest so far at 36" x 36". Recently I've been doing the 2.5" deep sides in a shiny black and they are particlarly effective on this painting. |
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RED LICORICE |
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RED LICORICE is also inspired by jazz. It is another painting that employs my new "swizzle stroke". It also reminds me of the rippled ribbon candy I used to get in my stocking at Christmas. It pairs nicely with BLACK LICORICE. |
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BLACK LICORICE |
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I've been interested in working primarily with black and off-white for the past several months, however, I find that I just have to have bits of color. Even though this painting has lots of black on the sides and face, to me, it is still a happy painting because of the swizzle stroke and the bits of color. |
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THINGS ARE LOOKING UP |
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THINGS ARE LOOKING UP is part of a new series called "Patterns & Signs" based on quilts and street signs. This piece is inspired by the street and highway signs we see everyday and follow but rarely notice. I chose to show a lot of color and movement in this simple yet complicated idea to form a very dramatic painting. Sold.
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SOUTH BOUND |
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SOUTH BOUND is the second large piece from my Patterns & Signs Series. This painting makes a great companion piece to THINGS ARE LOOKING UP. Both are very dramatic with heavy texture and lots of color and movement inside the arrow shapes. Sold. |
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BLUE, FLOATING |
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Inspired by an exhibit of the "Gee's Bend Quilts", BLUE, FLOATING is at once more simple, more complicated and more sophisticated than most of my other work. The more rigid geometric lines are more difficult for me to paint with the palette knife and the design more delicate to balance in color as well as in contrast. The borders are meant to resemble the quilt bindings. The markings are meant to resemble trailing or loose threads and add interest to the large color blocks. The title comes from the fact that the small blue rectangle appears to "float" above the surface of the large black shape. |
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GYPSY DANCER |
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GYPSY DANCER is from my New Phase Series which incorporates clear, bright and unglazed color in slightly skewed geometric designs. SOLD. |
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BEDTIME STORIES |
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BEDTIME STORIES is from my "New Phase Series" so called because it was a new phase for me at the time it began in 2006.BEDTIME STORIES has lovely, restfull greens as a background with lucious accent colors as well as blue-black edges. |
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BASELINE SPLIT #1 |
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One of six small paintings from my New Phase Series that can be grouped in two or more pieces. I really like these little paintings and am working on two larger 24"x24" paintings with the dark band at the bottom. I am showing four of the small paintings on the website. If you want to see photos of the other two paintings, please contact me. |
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BASELINE RED |
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I created a series of six small paintings all with the dark band at the bottom which can stand alone or be grouped. There is a lot of layering and mark-making in all of these pieces. Sold. |
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SOME SUNNY DAY #1 & #2 |
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I painted the red half of this diptych last year and decided it needed a partner or a mate just recently. I also added the pale yellow flame-like areas and some color to the red piece recently which give it a somewhat different character but decided to stay with the original title. Both of these paintings are strong and will work alone, but I think they make a stronger statement together. |
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BOLD BEGINNINGS #1 & #2 |
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Two new Abstract Series paintings which can work as a diptych or each panel can stand alone. Painting swiftly, intuitively and to music for rhythm is part of the process when I paint abstractly. I started with some idea of color and the basic curved horizontal line. Once the painting has begun, I stop planning or thinking ahead and work intuitively, letting the painting itself guide me as it progresses. Eric Clapton's "Unplugged" album is one of my favorite albums to paint along with. These two paintings are available as giclee prints through New Era Publishing. Sold. |
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BOLD BEGINNINGS #1 |
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This was originally to be only one 36"x36" painting, however, I liked it so well that I decided to add the second piece to go on the left. The sides of the two paintings are copper leaf. Sold. |
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MY BIRD HOUSE #1 & #2 |
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I have painted several small house paintings in my New Phase Series. Each piece can stand alone or be paired like these two or grouped with others. More whimsical than most of my work but fun to see how inventive I could be with the idea of painting different shapes of houses and colorful designs. More time consuming than I expected. |
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MY BIRD HOUSE #3 & #4 |
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These paintings are two of several that I have done of little houses in my New Phase Series. I started out seeing what I could do with the idea of houses by using colorful, geometric shapes to convey feelings of joy. In a few of them I have added birds. The houses can be hung individually, in groups of two, three or more and also look good hung together in a square. |
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DEPARTURE |
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A new diptych which started as one piece that was oriented with the white panel at the top. I painted the companion piece with the tilted bars and changed the orientation by putting the white panels in the center. I am quite pleased with the final result. Color, texture, design, energy, emotion, and balance. It all works for me in this painting. |
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SONG OF WINTER |
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My strokes differ from one series to the next and sometimes even within a series. I think that the strokes in this piece differ from almost all of my other paintings. I keep exploring my medium to see how far I can push it to achieve new effects. This painting has even more layering than usual and the colors are a bit unusual for me as well. I like it. Plan on seeing more work with this kind of layering and scumbling effect. |
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JUST BECAUSE |
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Two abstract paintings that can stand alone or work as companion pieces if spaced apart. One panel is about 1/4" deeper than the other. |
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WILD THANG, I THINK I LOVE YOU #1 |
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WILD THANG, I THINK I LOVE YOU #1 is exciting, dramatic and purely abstract. In my Abstract Series paintings, I am primarily concerned with motion and emotion and the strokes and colors generally are quite dramatic. The idea for WILD THANG#1 actually came from a photograph of a Union General's closet in an old fort. I saw it without my glasses on and saw the possibility of abstracting the image. I adapted the design from that basic idea but the title came to me as I was painting those swooping, long strokes with great emotion and gusto and lots of motion. Once the painting began, it became a very intuitive process. It's a "wild thang" and I love it. Sold. |
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WILD THANG, I THINK I LOVE YOU, #2 |
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A similar color scheme to WILD THANG #1 although this painting has a green over black in the lower right corner that I am very fond of. I think #2 is equally dramatic and exciting. I painted it as a possible companion piece to WILD THANG #1. Both are strong paintings and can stand alone, however, both were purchased by the same client and I am hoping they will be hung together for double the impact. Both paintings were painted intuitively as I allowed each stroke to lead me to the next. Sold. |
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EARLY DAWN COMES WAKING #2 |
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The title of this painting accurately describes the color, movement and emotion of this piece from my Abstract Series. There were originally three pieces that could be mates. Each of them have been sold. A giclee' reproduction has been made of all three paintings by my publisher, New Era Publishing. Sold. |
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CRISS CROSSED |
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CRISS CROSSED is a new painting from my Abstract Series with the same dramatic action and contrast as the two WILD THANGS. I have been painting primarily in a square composition for a long time. It was a challenge to compose on a larger size as well as a horizontal shape with a 48" x 60" canvas instead of a 48" x 48". I think the shape of the canvas contributed to the dramatic design. |
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LET'S GIVE 'EM SOMETHING TO TALK ABOUT |
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LET'S GIVE 'EM SOMETHING TO TALK ABOUT is from my Abstract Series. This work tries to capture the goodness and light that I feel can overpower the darker, unhappy parts of life that we sometimes experience. It is also about stretching boundaries, symbolized by the partly hidden square that the light areas overlay and go beyond. |
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ANOTHER PLACE ANOTHER TIME |
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This painting from my Abstract Landscape Series is based on memories and feelings from walks in the country. It hints at the colorful fields of Texas, New Mexico and Colorado wildflowers that have always inspired me. |
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STARS ON THE WATER |
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This painting from my Abstract Landscape Series was commissioned for the beautiful new $295 million Red Rock Casino, Resort & Spa which opened in Las Vegas in 2006. The painting is expected to be used in a film entitled "21" starring Kevin Spacey which should be released in early 2008. It is a very textural piece with heavy strokes of the palette knife. The painting is pretty abstract, but it is suggestive of trees in the distance and stars reflecting on water as seen from off shore. The painting was inspired by a Rodney Crowell song. I like the mood that this painting creates. If you happen to go to the Red Rock Casino, it is hung in the High Rollers Lounge inside the teller's cage. Sold.
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WIND RIVER |
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This is a 5ft. x 5ft. painting that is a rememberance of the canyons and not an actual site. It is one of the Abstract Landscape Series. It is from my memory and my imagination. I have taken some areas of this painting and used them to paint other imaginary landscapes. Sold. |
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PORTRAIT OF A MEMORY #2 |
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This painting is an example of my Abstract Landscape Series. The idea behind the series is that the subject can be identified but is not meant to be realistic. The viewer can also enjoy the abstract nature of painting. Strong, vivid strokes transmit an energy to this painting. |
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SERENITY |
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This is a recent work from my Landscape Series in which I have tried to capture the peacefulness that I felt upon seeing a river slowly and gracefully make its journey toward the ocean. This piece is a nice companion piece to SOLITUDE. Both are soft and restful in mood. |
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SOLITUDE |
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SOLITUDE is from my Abstract Landscape Series. The energy of the clouds are reflected in the water. This painting has softer colors than I usually use. I wanted to capture the restful and peaceful feeling I experience near the water. I think this piece makes a nice companion piece to SERENITY. |
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BATEMAN HARDWARE |
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This is a painting in my What Remains Series that was inspired by a sign on an old building in Salida, Colorado. This town has a lot of old brick buildings that still have painted signs on the old brick. We asked why there were so many brick buildings when a lot of old Colorado towns are in Victorian style and built from wood. We were told that the town had burned in the 1800's or early 1900's and had been rebuilt in brick. It often takes all of my computer and detecting skills to play with the images and figure out what they say as some are so faded and many have been painted over many times. I do take liberties with the design and the colors. |
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DRY GOODS & SUNDRIES #2 |
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A Diptych that I painted for my What Remains Series. My intent was to make the lettering faded but readable. The painting was inspired by an old abandoned filling station in Tia Amarillo, New Mexico. The colors and the peeling paint attracted me. I added the words. My grandfather had a store which he advertised as a "Dry Goods Store". He carried work shirts and fabric and other "sundries". He would bring home the white cardboard inserts from the work shirts for me to draw on. This is the second painting I have done using these words which are special to me. |
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ABANDONED DREAMS |
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I saw this old door way out at the Santa Fe, New Mexico railroad station. It looked like lots of people had thrown paint all over it. I added the signage which says Atcheson, Topeka & Santa Fe. I also added painted wooden pegs to resemble large screws. |
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BUFFALO BILLIARDS |
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I saw this old doorway in an Austin, Texas alley on 6th Street and couldn't resist painting it. I didn't realize that it is actually an ongoing business until I got home and googled it. I've changed some things about the actual doorway and made up the design on the door itself. Pretty cool. |
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FADING FAST |
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FADING FAST is a large painting and one of the first pieces from my What Remains Series which is about a vanishing history of parts of our country. This particular idea came from an old store front in Marfa, Texas which is currently being refurbished for a gallery or exhibition space. The lettering was barely visible but, by putting the photo on my computer, I was able to punch up the color and contrast and see a lot of the original colors and letters. Some I could never make out but I think that adds to the mystery of the painting. SOLD |
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NO WHINING |
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This is one of my favorite paintings from the What Remains Series. It is a triptych made of three canvases of 24"x24"x2.5"deep each. I wanted to capture the beauty of old brick walls and add some of the elements found on them. I used actual louvers which I attached to the canvas and then "roughed up". I painted an earlier piece which I titled DON'T PANIC. It took me a long time to decide on the words NO WHINING for this second piece. Many people who have seen this painting really identify with the message. |
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NO WHINING, Detail |
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A detail of NO WHINING showing the louvers which were painted and then cut and curled. I think you can also see the depth of pigment and some of the under painting. When I first had the idea for the What Remains Series, I had no idea whether they would sell or not but the idea intrigued me. I am pleased to report that they have been very well received. |
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HANGIN' ON |
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Part of my new series called What Remains. On the way back from a Colorado trip, I found where an old building had been torn out between two other old buildings in Raton, New Mexico. The old walls that were left had obviously been painted over many times, some even perhaps had burned. They were beautiful to my eyes yet reminiscent of lives past. I spent a couple of hours photographing the walls and even the old floors. This was the germ from which I began my What Remains Series which is based on these old walls and which can incorporate faded wording or pieces of rusted metal or even louvers. HANGIN' ON is one of the first pieces in that series. I love the suggestion of a flag shape in the painting and the combination of the curved swoop of the cord against the more angular shapes of the wall. The cord is an actual cord that I have painted and added on top of the painting bringing part of the design into the 3rd dimension. Very thick impasto. Sold. |
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HANGIN' ON, Detail |
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A detail shot showing the metal piece and how it is attached. I used a hook which I screwed on, then painted and braced it with wood from behind. There are cast shadows in the photo. |
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LEFT BEHIND |
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This painting was inspired by old brick walls seen in Raton, New Mexico. It is one of the first paintings in my What Remains Series. I'm not sure what the rusted piece was in a prior life, but it looks like it may have been from an old wagon. There is very heavy impasto in this piece with a lot of under painting and over painting. It is mellow and rich. Sold. |
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LEFT BEHIND, Detail |
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This detail shot shows the heavy impasto and richness of color as well as the rusted metal and how it is attached. I used a hook which I painted and screwed on through the canvas to a piece of wood in the back. There are cast shadows from the metal in the photograph . |
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IF WALLS COULD TALK |
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This painting was inspired by old walls found in Raton, New Mexico. The heavy layering of pigment created by underpainting and overpainting in this work suggests the layered meaning of years passing. I think this was a wall in an old hotel, and I can imagine the many events and conversations witnessed by these old walls. |
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SHADOWS ON THE HILL |
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SHADOWS ON THE HILL is a new painting from my Landscape Series. SHADOWS ON THE HILL was inspired by a trip to Colorado in 2006. This was an early afternoon in late September and the sun was still on the foreground but already going behind the mountain. I was entranced with the play of shadows on the side of the hill. This is a two panel piece which works hung tight together or with some space between. I think it is one of my very best landscape paintings. |
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OCTOBER AFTERNOON |
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This is a new painting from my Landscape Series that was inspired by a recent trip to the mountains of southwest Colorado as the aspens were turning. Before taking this trip, I had almost decided to stop painting landscapes and to concentrate only on abstract subjects. However, the beauty of the mountains and the rivers and the trees turning in the fall just blew me away. I couldn't wait to return to my studio and start painting. OCTOBER AFTERNOON was the first painting that I did after this trip, and I am really pleased with the way that it turned out. Sold. |
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WHAT MY EYES HAVE SEEN |
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This work from my Landscape Series was also inspired by my recent trip to Colorado as the aspens were turning. Color is what turns me on, and Colorado in September has to have the most spectacularly colorful scenery I have ever seen. I'm not sure I do the colors justice, but I do like this little painting. |
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DESERT DREAMS |
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This is a painting from my Landscape Series, and it is a scene from northern New Mexico near Taos. The variety of colors are one of the things that I love about the Southwest. |
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SUNDAY AT OAK CREEK |
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A scene from lovely, little Oak Creek near Sedona, Arizona. One of my Landscape Series. I was there as the afternoon shadows fell across the rocks. This piece is 5ft. x 5ft. |
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HACIENDA GRANDE (With the artist) |
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I present you this photo because it shows the scale of
HACIENDA GRANDE which is from my San Miguel Series. It is 5ft. x 5ft. I am 5ft.4". I painted from a standing position and standing on a stool for the top third of the painting. When you draw or paint standing, you get much greater range of motion in the strokes. This painting and BENEATH THE MIST were the first I have done on this large a scale. The design came from a combination of different architectural elements I found around doorways in San Miguel de Allende, Mexico. |
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COLORS & TEXTURES OF SAN MIGUEL |
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This painting is from my San Miguel Series. This painting is just what the title suggests. It was inspired by the colors and textures of the walls of San Miguel de Allende, Mexico. There are a wide variety of heavy textures and bright happy colors. The San Miguel paintings began about 10 years ago and were my first paintings using only the palette knife. The colors are more earth toned and mellow than in work from my other series. I also glaze them with a burnt sienna to give them the look and feel of antiquity. I enjoyed applying paint with the palette knife -- it's so rich -- and soon decided to work that way on all of my paintings. |
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Contact
Maxine Price
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