Work samples

  • MTaylor, Tavin Parker, Navie & Thomas
    MTaylor, Tavin Parker, Navie & Thomas
    Maxine began teaching 6-12 year olds the basics of art in April 2019. The class will soon be funded in order to provide free lunch and materials in this opportunity for local community children. There have been 28 children from 15 families participating in classes to date.
  • Saturday's Child at MAXgallery
    Saturday's Child at MAXgallery
    Working with sculpture
  • Saturday's Child, November class
    Saturday's Child, November class
    Children were introduced to new techniques including cut-outs by teacher Frank Stewart-El. Some results above.
  • Strategizing with MICA Place in August 2019
    Strategizing with MICA Place in August 2019
    MICA Place held an event in August 2019 to reach out the the East Baltimore community

About Maxine

As an artist I have been interested in sharing my knowledge and love of self-expression within East Baltimore.  Developing community access through my non-profit partnership with Fusion as Madeira Street Axis, I have broadened my reach to include youth and adults in teaching local art classes at MAXgallery.  An interesting development has resulted in the parents who bring their children to Saturday's Child class have participated and added to the program through their own inventive ideas.  … more

2023 Maxine Taylor: Strength From the Past

Post-Covid19  finds me (like everyone around me) struggling to return to my normal creative self.

  • Fresh Start
    Fresh Start
  • Sun Drenched Rows
    Sun Drenched Rows
    Watercolor, metallic pen on 130# arches watercolor paper, 15x11"
  • Blue Doors
    Blue Doors
    mixed media (watercolor, pastel, acrylic) on 130# arches rag paper 26 x 20"
  • View of Baltimore
    View of Baltimore

2016 Finding New Means of Expression

Freeing artwork from the frame.
1/ Over the years, collage has helped me to develop my vision. "Negative Space" begins the year 2016 that is totally focused on collage.  Torn artworks of 140# cold pressed Arches watercolor paper from my archives.  Studying this piece and seeing the power of the negative space focuses me on the relationship between the layers. There are at least three paintings in "Negative Space,"  The pieces are put together with pH neutral medium and mounted on 1/4" plywood. Hardware attached for hanging 2/ "Greater Than Square" was the second in this current series which began with the large "Negative Space". This collage, "Greater Than Square" demonstrates the power of removing my brush oriented artwork from a rectangle. It has been coated with pH neutral medium and mounted on 1/4" plywood. Hardware attached for hanging.
3/ A more recent collage, "Finding Expressive Means", done in the fall of 2016, continues to show the expressive capability of assembling torn paper.
  • Finding Expressive Means
    Finding Expressive Means
    Finding Expressive Means, collage, watercolor, acrylic, pastel, Arches 140# cold press paper, mounted on board coated with acrylic medium, 34x30, 2016
  •  Negative Space 50x50
    Negative Space 50x50"
    Negative Space, collage, watercolor, acrylic, pastel, Arches 140# cold press paper, mounted on board coated with acrylic medium, 50x50", 2016
  • Greater Than Square
    Greater Than Square
    Greater Than Square, collage of watercolor, acrylic, pastel, Arches 140# paper, 34x40", 2016

2015 Expanding into the Community

I continue to explore the addition of found materials to my paintings. The scope of my creative endeavors expands to include assisting inner city artists to find opportunities outside of their local communities.
This year during the Artscape Gallery Network I created a project entitled "Cross This Line" showcasing seven Baltimore artists of color, most of whom had never exhibited their work away from home. Also invited were five established artists, myself included, to introduced artistic disciplines that make the life of an artist so rewarding. Endeavors such as critiques and discussions about art in general, sharing perspectives, visits to art exhibits, interaction with other artists to identify skills for marketing and networking.
They have now tasted the many opportunities in Baltimore City, are learning to promote their own work, apply for exhibition opportunities and have developed a network for support.
Another artist, Kini Collins and I, established a workforce development program aimed at a broader range of inner city adults. We established and have begun East Side Works (ESW) in which we are creating a small business together with five adults to give our workers the confidence and skills needed to launch their own small businesses. We have applied for and received a grant and have crowdfunded nearly our entire operating budget for 14 weeks.
The mission of East Side Works is to produce affordable and trusted hand-made products that are created locally in East Baltimore by a diverse, collaborative workforce.
  • First Focus Group
    First Focus Group
    Invitations were sent to people willing to look at new products and share their opinion. A very successful first effort.
  • Meeting 4
    Meeting 4
    Exploring the possibilities in found and natural materials.
  • East Side Works
    East Side Works
    2015 saw the launch of East Side Works (ESW). Maxine Taylor and Kini Collins formed a partnership and are investing in Baltimore, our city and ourselves, by combining our 50+years experience making and selling artwork. ESW is a collaboration of 7 people, researching, designing, producing and selling hand made products. We are creating a sample business to gain the skills and confidence needed to launch a real business. With a generous grant from the Abell Foundation, we are up and running! And we're having fun!
  • East Side Works Logo
    East Side Works Logo
    Created by Ronald Rucker
  • East Side Works first meeting
    East Side Works first meeting
    East Side Works meets regularly at MAXgallery, live in studio of Maxine Taylor in east Baltimore.
  • Autumn Dervish (detail)
    Autumn Dervish (detail)
    Acrylic, mixed media with buttons, sand, sumi ink & fabric on gallery wrapped canvas. 30" x 72",

2014 Simplifying

Determined to peel away layers and reveal the basis of my art, this year was focused on allowing a glimpse behind the veil by showing only the base layer of my paintings.
  • Blue Hook
    Blue Hook
    Acrylic, sumi Ink, collage on gallery wrapped canvas, 34 x 24"
  • Power of Ten
    Power of Ten
    Acrylic, powdered pigment on gallery wrapped canvas, 44 x 54"
  • Breaking Ground
    Breaking Ground
    Acrylic, powdered pigment on gallery wrapped canvas, 53 x 46"
  • Saturday Night
    Saturday Night
    acrylic, sumi ink on gallery wrapped canvas, 30 x 50"

Baltimore Rowhouses 2013

Revisiting the imaginary rowhouse imagery, refreshes my instincts for drawing.
  • 2013-10-fayettest-lores.jpg
    2013-10-fayettest-lores.jpg
  • Sun Drenched Rows
    Sun Drenched Rows
    Watercolor, metallic pen on 130# arches watercolor paper, 15x11"
  • Blue Doors
    Blue Doors
    mixed media (watercolor, pastel, acrylic) on 130# arches rag paper 26 x 20"
  • Windows and Doors (detail)
    Windows and Doors (detail)
    mixed media (watercolor, pastel, acrylic) on 130# arches rag paper 26 x 20"
  • Red Rows
    Red Rows
    watercolor on paper, 15x11"
  • Sprouts
    Sprouts
    mixed media on watercolor paper, 11x15"
  • On the Avenue
    On the Avenue
    mixed media on 130# arches watercolor paper, 15x11"
  • N.Collington St.
    N.Collington St.
    mixed media on 130# arches watercolor paper, 11x15"
  • 2013-09-castlenorth-lores.jpg
    2013-09-castlenorth-lores.jpg
  • Shadow City
    Shadow City
    mixed media on 130# arches watercolor paper, 20x26"

Contemporary Movements 2012

Before I created the paintings that are now part of my Contemporary Movements collection, I reflected on the nature of my previous works. The large canvas of 2007-2009 were full of activity and dense brush strokes. At the time of those works, I had many ideas and feeling that I projected onto the canvas. These thoughts and emotions were at times, vibrantly alive and sometimes chaotic.

These works, though well-received, lacked the joy and playfulness of past my past works. It took some digging, but after studying my collections, style and process, I found my bliss again.Artifact was the first painting in the new series. With its simplistic nature, Artifact has renewed the spirit with which I began my career. It brings excitement and energy back to my brush and soul. When I step back from the canvas I appreciate the circle of life and my experiences.
  • Improv - City Over City
    This project was a result of a performance "The Red Door is Open" in Wright Theatre at University of Baltimore. The performance was a collaboration with composer Robert Hitz, artists Jessica Damen and Maxine Taylor. My painting City Over City was physically presented to the audience which collaborated through a discussion led by Kimberley Lynne. Subsequently Robert Hitz improvised the music you can hear on this audio track. The entire performance consisted of paintings by Jessica and Maxine, discussions led by Kimberley with Robert composing.
  • City Over City
    City Over City
    Acrylic on gallery wrapped canvas, 43 x 45"
  • Memories of Home
    Memories of Home
    Acrylic with sumi ink, powdered pigment, on gallery wrapped canvas, 50 x 43"
  • Pause, Rewind, Play
    Pause, Rewind, Play
    Acrylic with collage, sumi ink on canvas, 13 x 32"
  • Urban Bright
    Urban Bright
    Acrylic with mixed media on canvas, 36 x 36"
  • Artifact
    Artifact
    Acrylic with mixed media on canvas, 36 x 33"
  • Shift Change
    Shift Change
    Acrylic with mixed media on canvas, 43x50

New Century, New Direction 2007

After focusing on language and movement within the urban landscape, I allow my work to find a new direction. My attention shifted to more fanciful realms and objects, the spaces in between and various nuances within these areas.
  • Chopstick
    Chopstick
  • An After Glow
    An After Glow
  • Untitled
    Untitled
  • Night Music
    Night Music
  • Tree Mill Circle
    Tree Mill Circle
  • Space Trailer
    Space Trailer
  • Ladder of Paper
    Ladder of Paper
  • Flashcard
    Flashcard
    Acrylic, powdered pigment, glass beads, sumi ink, pastel on gallery wrapped canvas, 44 x 52 x 2.5".
  • Cowboy in the City
    Cowboy in the City
    Acrylic, powdered pigment, pastel on gallery wrapped canvas, 38 x 52 x 1.5".
  • Townhouse with a Black Line
    Townhouse with a Black Line

Urban Views 1997 Integrating Baltimore

These figurative and geometric works, painted in 1997, embody my initial impressions of my newly adopted city -- Baltimore.
  • Out of School
    Out of School
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Abandoned
    Abandoned
    black acrylic, pastel on 130# arches watercolor paper
  • Streetwise
    Streetwise
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • JG
    JG
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Don't Walk
    Don't Walk
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • City Over City
    City Over City
    Acrylic on raw canvas, 46 x 54"
  • Happy Afternoon Hieroglyphic
    Happy Afternoon Hieroglyphic
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Child's Play
    Child's Play
    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Bentwood
    Bentwood
    Acrylic on 130# arches watercolor paper, 20x26"
  • On the Corner
    On the Corner
    Acrylic, pastel on 130# arches watercolor paper, 20 x 26"

The Metro Aesthetic/Seeking Language 1996

These collective works have recently been christened, The Metro Aesthetic because of the ease with which they blend into a chic urban setting. During their creation, I dubbed the series, Seeking Language. This collection represents a study of the varied ways people communicate with each other. Whether through witty banter, fluid conversation, or sound bites run amok, these paintings are an attempt to capture every syllable, on an array of levels.
  • Guardian II
    Guardian II
    Acrylic on raw canvas. 60 x 40" canvas wrapped. Begun in 1995 before moving to Baltimore in 1997, Guardian was completed with the addition of white rectangles throughout the surface of the original painting. Thus I became aware of the impact of the rowhouses in my newly adopted city. Subsequently I began to focus on the buildings and draw and paint them.
  • The Swing
    The Swing
    acrylic on 130# arches paper, 45 x 34"
  • Dancer's Diptych
    Dancer's Diptych
    Acrylic on 130# arches paper, 41 x 52", mounted on black painted canvas 44 x 55"
  • Nineteen
    Nineteen
  • Skywriter
    Skywriter
    Acrylic on raw canvas. 48 x 72"
  • Seeking Language XII
    Seeking Language XII
    Watercolor and acrylic on 130# arches w/c paper. Mounted on stretched black painted canvas, 36 x 45"
  • Bound, Seeking Language XVI
    Bound, Seeking Language XVI
  • Fulcrum
    Fulcrum
  • Showing Form
    Showing Form
  • Mother's Reflection
    Mother's Reflection