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Perfumes for women - Expo Solo-Milan- ( Parfums de Femmes)

 

 

Beautiful is the light that surrounds the copper paintings of Maev Marchini, an artist able to communicate her complex inner universe through  material and color, with artistic approach that is out of time. Temporal and spatial dimensions are suspended in the breath of the spirit, which requires freedom pictorial and cathartic.

Her journey appears as a higher expression of open dialogue and sharing with others. The splendor of the painted image, behind the universal voice, born from a whirlwind of latent emotions in copper strongly expressed support.
Attention to life, existential themes, the escape of everyday life, as if the peregrinations of the dream told introspection represented by the author, celebrated by positive thinking, but born a abyss of suffering. The pain of his soul was born the art of Maev Marchini, a pain which has touched the depths of human life and which results in elevation of thought beyond the seem.
Among the tragic events of the unconscious, there is an endless search for beauty, an extraordinary desire of light flooding all its artistic production of copper.
His artistic technique is unique: the use of copper makes for a particular artist. The support unprecedented (copper) allows the artist to communicate a message of positivity and ambition to the balance and serenity. In works of art of Maev Marchini harmony reveals itself in the enveloping sign floating in counterpoint to the apotheosis of passion, as a musical abandonment of emotional perception.
The unreal transcends daily life in an explosion of colors and boundless hope. It is tinged with a color intensity of communication and a unique heat, in which lives Maev Marchini love for life and the universe 'woman'.
Maev Marchini chromatic fragrance will seduce anyone who observed his work eternal perfume women.

 

Critic and Historiqie of Art - www.sabrinafalzone.info
Written April 6, 2013 at Milan and translated April 8, 2013

 

 

 

 

 

 

 

Expo- New-York: Agora Gallery

 

 

MAEV: An Artist's Reaffirmation of the Visionary Impulse

Rarely are subject and medium so seamlessly merged as in the paintings on copper of the doubly-gifted Quebec-based visual artist and musician MAEV (Maev Marchini) whose compositions are infused with a singularly ethereal sense of light.

A visionary in the tradition of William Blake, MAEV abandoned oil painting for her unusual medium in the wake of a trying family crisis in the late 1980s. Unlike that British master, however, she does not employ the copper plate for printing multiple editions; rather, each plate serves as the surface for a single original painting, etched with tactile lines and brushed with colored varnishes in her own inimitable manner.

The resulting works have a transcendent quality, at once mythic and romantic, with human and fantastic peacock-like avian figures afloat in glowing cosmic spaces. Most of the human figures in MAEV's paintings are exquisitely formed female nudes of a beauty approaching those of Botticelli. Invariably, they are enveloped in richly burnished hues, as seen in "Envoi Sensuel," where a slender Venus etched in a supple line is combined with a fiery globe in an especially radiant configuration.

MAEV's colors are as variegated as those in Redon's pastels, albeit more fluid and filled with light. Further enhanced by a mottled effect in which several colors flow together in almost "marbleized" configurations that bring the entire surface alive with a vibrant chromatic "pulse," they create the sense of a rarefied realm of fantasy and heavenly harmony.

Sinuously delineated floral forms also appear in compositions such as "Allegra" and "Paradisia." In the latter work they evoke the cosmic terrain upon which one of MAEV's characteristically comely female nudes strolls gracefully among exotic crane-like birds. In another piece called "Terre-Ciel," two nudes crouch on a massive green vegetal mass with a curvaceousness that rhymes visually with those of the figures, floating over a shimmering body of water. Between them a large water bird preens against a glowing solar orb emitting blinding golden rays.

In yet another stunning scene entitled "Soleil Bleu," a bather with a flowing mane is seen partially submerged in a body of water and encircled by delicate flowers which curve upward to vanish into an orange stratosphere where planets are suspended like bright balloons.
In other works, such as "Embrasement," beautiful faces surrounded by crowns of flowing tresses float disembodied in fiery, almost equally luminous areas of sky and water. Elements of the Rococo and the Baroque also come into play in MAEV's compositions to enhance their sense of fantasy, as seen in a venture into Orientalia entitled "New Japan," where the bare breasts and torso of a beautiful woman appear delineated in a phantom-like manner against an ostensibly abstract cosmic background, the contours of the figure's hair flowing upward like huge flower.
The word "visionary" has been bantered about so freely as to have almost lost its meaning in recent years. But an artist such as MAEV makes clear that the spirit of William Blake, Samuel Parker, and others among the group that embraced the name "The Ancients" for their love of myth and magic is still alive in the postmodern era. For MAEV's work is possessed of a visionary intensity and a conviction that provides visual evidence of her statement, "I love to create for the pleasure of others, whether it be with original music, floating to transmit my impressions, my interior realizations or to compose a parallel universe with my paintings on copper where the unreal transcends the day to day in a flight of colors, where the heat of well-being mixes with Love and Hope."

Maureen Flynn
Agora Gallery

 

 

 

 

 

 

 

 

 

Professor Jean-Paul Gavard-Perret

Columnist - Art critic for Arts - Up.info

 

MAEV:
THE MATTER OF GRACE

 

In l ' work of Maev emerges the power of the strangeness as of the evidence. The experience of one kind of infinity in proximity by accepting the challenge of emotion. Works call to feel true what else indeed, before these tables, otherwise the emotion which takes by surprise and leaves stunned cause thought breaking point?

In the "old" area of the painting Maev brings back the form of existential joy that is not superficial. The depth is scrutinized far from any melancholic narcissism. Sinkholes rendered unstable by the disease from ideality the artist gives an opening, a burst clear of any miasm

The artist creates a nomadic process of networks of architectural fragments built to the praise of the beauty. The artist thus praised the places she reinvented as fiction in a series of volutes and vibrant colors of pink and Red-based. His painting is true, in a moving series of plans more than "depositions".

Material painting does not "rely" it makes body with the theme of the work. Where this rare dimension in contemporary art. Namely land searching for flight, the appeal of air but within the matter has more sensual or Dionysian.

The space of the sky itself becomes a volume of fire. Paintings emerge such major constellations. They are also fasteners thinking fixation as the effect of a move. It can be said in this sense that Maev working material and the idea (or affect) in what does not belong to register imagery but a kind of atheism of the pious - namely ceremonial image.

The works praise the world developing organically not so much by their theme but through the language of painting itself, its forms, its colours and in various registers. Maev is limited so not to fiscal recovery, rubbing or simple varnish. She is looking for the image that out of ourselves and at the same time grows at the bottom of itself in an exercise of cruelty but tender sensory.

Maev located in the outside and the inside. In a place (or dismissed) par excellence who teaches us what "aître" or "remains" mean: would be remains of being not that what we live but which incorporates to the tenderness of the world. There is the mystery of the Exchange and an act of love because: "in painting love governs the way - there's no path where there's no love" wrote Danielle Mémoire. The work of Maev proves this.

So far his paintings aren't a horizon flatly poetic (to the overused sense of the word) but rather paradoxical knowledge. The body is lost (soul idem). To do with these volumes full of sensation by effect of significantly sheer thickness.

Faced with this work we are only surviving shadows. And Giacometti knew: according to him that a table be interesting it must be "worrying" but never play on the monstrous. Here is the beauty and flavor of paradise even that worry.

The work of Maev rest body and spelling so choreography. In some symbolic curves (but not only) the body is magnified. Body of woman who escapes us like painting transcends us. But it is indeed the case: should admire the "other" in a table and not take it to a mirror against which we would stay only with our desire. This is why such arrays affect us: they look at us. And sometimes - selfishly - one would almost like watching that we...
J Paul Garvard-Perret
07/11/2011 *.

 

Paru sur le site art-mine.com

For French, Quebec-based visual artist and musician Maev Marchini, periods of intense hardship and difficulty produce the greatest artistic developments. An especially trying time in the late 1980s led her to abandon the oil painting she had long practiced and explore a very original and unchartered set of materials: copper and varnish. The resulting aesthetic, which she has continued to push and explore since that time, is characterized by bright, luminescent hues, fluid colors and glimmering ridges where the outlines of forms and figures are engraved into the copper plates.
Much like her choice of materials, Machini’s subject matter is wildly eclectic, ranging from mystical and symbolist figures and scenes featuring supernatural characters and otherworldly landscapes to dazzling and purely abstract pools of swirling colors. Her unique process balances a set of fascinating formal tensions. Though she paints on a very heavy material support, the copper’s sheen reflects light elegantly so that the colored varnishes appear to glow, lending her works a sense of ethereal, serene weightlessness.
 

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Paru dans la revue ArtisSpectrum

MAEV’s paintings are distinctive, both in their subject and in the materials used to create them. The French-born artist, who now lives and works in Quebec, creates a vibrant, seductive world that mixes dream and reality. She says that her goal is to depict a universe in which “the unreal transcends the day-to-day in a flight of colors.” It is a goal that she accomplishes with breathtaking thoroughness.

She paints in colored varnishes on copper, often letting the copper show completely through only in the spaces occupied by her human subjects. By juxtaposing the exposed copper and the layers of varnish, she vividly communicates the idea of two worlds existing at once, close to each other, but still separated. Those human figures become calm centers floating on kaleidoscopic fields of bright colors. A balance is expertly struck between stillness and motion, peacefulness and the elemental energy of nature.

Having worked in both oil paints and stained glass, MAEV takes strong visual cues from those techniques in her work, but she consistently moves beyond them. The subtly reflective but opaque surface of the copper on which she paints brings the luminous quality of stained glass to mind. But in these paintings, the effect is not one of light pouring through a window. It is a glow that seems to come from within.