About this Artwork

In a process closely akin to relief printmaking, Maine uses textured surfaces to apply fluid acrylic paint indirectly to prepared canvas. He makes these surfaces or “plates,” some of which are quite large, out of common materials such as plywood, extruded foam, plastic and glue.
Integral to the process is the idea that the entire surface is treated with paint at the same moment. For Maine that means compositional phenomena are allowed to occur with minimal interference from his ego.

This work is one of the first large-scale Residue Paintings, made using a modified sheet of plywood as “printing” plate.

Here Maine takes the idea of an interior framing device to an extreme—usually, the margin or peripheral area of ground color is smaller, but here he  thinks it creates a sense of expansion.