Maria Fee’s work is a home for simple materials, constructed places for contemplation concerning issues of locality, multiformity, transcendence, and temporality. Operating as both painting and sculpture, the pieces retain a ghost-sense conjured through layered tinction processes or overlapping assembly that suggests the more that lurks behind or beyond corporeality.

Similar to traditional icon paintings where the material points to the immaterial like a window, three dimensional art compositions comprised of pierced, cut, and latticed skins of paper or canvas offer the opportunity for spiritual vistas. The pieces formulate multiple corridors or apertures that grant access into inner sanctums or histories. Despite the fragility of these farraginous forms, they bid welcome as mini-shelters. In this way, diverse scraps are honored and conjoined to produce approachable places. The bricolage method also refers to a mestizo mode--the mixing of media and forms to represent cultural mixing. Hybridity as a playful endeavor redeems disparate elements as a means to grant openness, immediacy, and fluid intimacy. Mestizo attempts to broaden what George Steiner states as humanity's "small house of our cautionary being." This indicates the way art can operate as a unifying method that offers welcome to diverse schemes.

The humble state of paper, paint, and canvas alongside its steady ritualistic manipulation afford sacramental possibilities, a simple refuge for body and soul. 


Maria Fee is an artist with an M.F.A. in Painting, M.A. in Theology, and a Ph.D. in Theology and Culture, Fuller Seminary. As adjunct professor, she assists seminarians' negotiations of theological observations through a creative medium. Maria's own art practice explores ideas of fragmentation, metizaje (cultural mixing), alienation, and hospitality.