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Madolin Maxey

"Vibrance/Essence[n]", February 18- April 25, 2025 at University of RI's Lippitt Hall
  • HOME
  • PAINTINGS
    • Spring Garden
    • Roussillon Landscapes
    • Botanicals
    • Still Lifes
    • Gym Equipment
    • Albuquerque
    • Sunflowers
    • Italian Landscapes
    • Abstracts
    • Devon + Dartmoor
    • Treasured Objects
    • Narratives
    • Sol y Sombra
    • Pacific
    • Urban Cartography
    • Pine And Bamboo
    • Take-No-Ko
  • PRINTS and Drawings
    • Print Collage
    • Gibraltar Carnival
    • Teapot Prints
    • Drawings
    • Family Party at the Hershey Hotel
  • SCULPTURE
    • Outdoor
    • Providence Plan Housing Corporation Office
    • Cirque Du Madeleine
    • Noh nht MRuts
    • Binterong And Dinosaur Exhibit At roger Williams Park Zoo
    • Pacific
  • STUDIO SHOTS
    • My Providence Studio
    • Working Drawings
  • SHOWS
    • Vibrance/Essence{n}
    • MICA Invitational
    • Dance With Orange
    • Female
    • From Landscape to Mindscape
    • Imago Foundation for the Arts
    • NAWA 132nd Annual Exhibition
    • BankRI
    • Visions Of Flora
    • Cold
    • Botanical
    • NAWA 131st Annual Exhibition
    • Love To Read
    • Some Like It Hot
    • Objects As Narrative
    • 30 Years Of Women's History
    • Devon And Dartmoor Show at The URI Feinstein Campus Gallery
    • Italian Landscapes
    • Sol y Sombra
    • NAWA 133rd Annual Exhibition
    • New Page
  • THEATRE
    • Set Design
  • ABOUT
    • Bio
    • Resume
  • NEWS
    • Press
  • CONTACT

View fullsize Gardens At Nara
Gardens At Nara
View fullsize Ginkaku-Ji Moss Garden
Ginkaku-Ji Moss Garden
View fullsize Kinkaku-Ji Bridge
Kinkaku-Ji Bridge
View fullsize Kyoto Boys Day,
Kyoto Boys Day,
View fullsize Shishendo Bamboo
Shishendo Bamboo

TAKE-NO-KO

small, rapidly growing bamboo shoots

Japan speaks in simple, serene, pristine elements.  It is a visual experience like none other. Boldness of color and shape flirt with wood and paper.  Japan is bright yet mysterious.

Spring 1997 I was fortunate in being given studio space in Kyoto, Japan.  These paintings evolved from the extensive drawings, small works, and sketchbooks created during that time. The emancipation of color, shape, and line is evident in all aspects of Japanese life.  It is enough to speak in one simple brush stroke, one bold line, one wooden shape, one expanse of red. My spoken language was frighteningly simple. Beautiful whispers gave way to staccato comprehension.  The Take-no-ko paintings reflect this continually shifting ground where reality is reassembled.