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About Maxine

Baltimore City

A native of California, I moved to Maryland more than 40 years ago, at which time I began to paint seriously, first in watercolor and subsequently acrylic and mixed media. Active in the DC art scene as a member of Studio Gallery from 1991-1997, I am now a resident here in Baltimore, where I was represented by Montage Gallery from 2003-2010. I have work in private collections in California, Florida, New York, D.C., Virginia and Maryland, including 18 paintings in the George Meany Center for Labor... more

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 34x30
    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", Maxine Taylor
    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, 34x40", Maxine Taylor
    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

    Invitations were sent to people willing to look at new products and share their opinion. A very successful first effort.
  • Meeting 4

    Exploring the possibilities in found and natural materials.
  • 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

    Created by Ronald Rucker
  • East Side Works first meeting

    East Side Works meets regularly at MAXgallery, live in studio of Maxine Taylor in east Baltimore.
  • 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

    Acrylic, sumi Ink, collage on gallery wrapped canvas, 34 x 24"
  • Power of Ten

    Acrylic, powdered pigment on gallery wrapped canvas, 44 x 54"
  • Breaking Ground

    Acrylic, powdered pigment on gallery wrapped canvas, 53 x 46"
  • 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.

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

    Acrylic on gallery wrapped canvas, 43 x 45"
  • Memories of Home

    Acrylic with sumi ink, powdered pigment, on gallery wrapped canvas, 50 x 43"
  • Pause, Rewind, Play

    Acrylic with collage, sumi ink on canvas, 13 x 32"
  • Urban Bright

    Acrylic with mixed media on canvas, 36 x 36"
  • Artifact

    Acrylic with mixed media on canvas, 36 x 33"
  • 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.

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

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Abandoned

    black acrylic, pastel on 130# arches watercolor paper
  • Streetwise

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • JG

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Don't Walk

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • City Over City

    Acrylic on raw canvas, 46 x 54"
  • Happy Afternoon Hieroglyphic

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Child's Play

    Acrylic on 130# arches watercolor paper, 20 x 26"
  • Bentwood

    Acrylic on 130# arches watercolor paper, 20x26"
  • 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

    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

    acrylic on 130# arches paper, 45 x 34"
  • Dancer's Diptych

    Acrylic on 130# arches paper, 41 x 52", mounted on black painted canvas 44 x 55"
  • Skywriter

    Acrylic on raw canvas. 48 x 72"
  • Seeking Language XII

    Watercolor and acrylic on 130# arches w/c paper. Mounted on stretched black painted canvas, 36 x 45"

Maxine's Curated Collection

This artist has not yet created a curated collection.