Sylvia Maier - Alpha on break

Sylvia Maier

These are personal paintings about the human condition. Life size figurative work in urban settings. I am curious about ceremonies, cultural identity and tolerance. The aim is to feel something and be present. One of my models – an African Priest – inspired a series of paintings on African ceremonies: The Initiation, Drawing down the Moon, and Isaih. I was intrigued with a practice that is foreign to me, being raised a Roman Catholic. I have done a series on Africa Drummers in Central Park (Soul Sisters) and it evolved into the African Ceremonies/Voodoo. The Kiss shows love across color lines, since the girl is bi-racial. Conspiracy recalls the lack of US involvement in the UN Conference on Racism. The heartbreaking events of 9/11 as seen from my Brooklyn rooftop is depicted in “Mourning Twins”. My work has been influenced by the artists from the past. The simplicity of classical form and emotion of the Renaissance. Rembrandt stirs me - as in most - the emotion and mystery of life. Since being an only child I was constantly with elders and forever with a pencil and paper in hand. I drew people constantly. I spent most of my summers in Argentina as a child and recall going to church with such enthusiasm, only because I knew I would see great art. The architecture, the paintings, and the feeling it evoked in me. When I go to the museum now, I feel as if I am stepping into a church. The reverence I have for the art that has come before me influences me to record my personal experiences. Technical statement: Each painting requires a different approach. Sometimes in a park or on the street, I have seen something and sketched it down so that I don’t forget, and then proceed to hire models and set up the scene that I have in mind. The drawing usually comes first. Life size charcoal and chalk on paper. I work with one model and move them around, overlapping them until I reach a pleasing outcome. This is much more spontaneous and very similar to automatic writing. Other times I work on a painting after I have done a grisaille from the charcoal sketch and then continue it with the model from life.