Maude Maris begins production by making casts of small found objects, ranging from dolls and statuettes to branches and fossils. These reproductions are then grouped into families. She arranges these families to create a mise en scène, which she then photographs. She then paints this image, increasing its scale over 10 times, while also manipulating the object's surfaces, shadows, colours and depth so that the outcome is almost unrecognisable from the original model. Through the smooth perfection of its surfaces, Maris' paintings exist in silent and splendid detachment from the assembled objects which they depict. The creative process is conceived of here as a series of filters, which serve to create distance between the original objects and the final painting, and act in a manner analogous to - although quite different from - the mapping and modelling carried out by computer graphics systems.
Maude Maris, b.1980, Paris. Major exhibitions include; Souvenirs de Téthys, (solo) Centre dArt Chapelle Jeanne dArc, Thouars, France (2018); Anatolian Studies (solo), Embac Chateauroux, France (2017); O! Watt up, de Watteau et du Theatre, Maison d'Art Bernard Anthonioz, Nogent-sur-Marne, France (2017); A claire-voix (solo), Ville de Thonon-les-Bains, France (2016); Votive (solo), Saint-Ange Residency, VOG, Fontaine, France (2016); Antique Romance, Pi Artworks London, UK (2016); Nemeton (solo), Musée des Beaux-arts, Rennes, France (2015); Along the Cornices, by Christian Aubert, Collector, Paris, France (2014); Dreaming of Vertigo, Raising the Doubt, Artothèque, Conseil Régional, Caen, France (2012). Major collections holding her work include Artothèque de Caen, France; Collection Fondation Colas Boulogne, France; FRAC Auvergne, France; FRAC Basse-Normandie, France; FRAC Haute-Normandie, France; Musee des beaux-arts, France and Collection Emerige, Paris, France.