In earlier work, Maria's layered painting process disclosed marks, shapes, and color choices mostly hidden yet alive enough to transmit the canvas' history. These ghosts also signified the more that lurks behind things. By and by, collage arrangements replaced play through paint in the same quest to deliver hints of what lays beyond. These paper works peek into inner landscapes made accessible through pierced and cut latticed forms that operate as windows. Finally, present work rises out of two dimensions formulated by farraginous constructed forms that perform as mini-refuges. In nest-like fashion, interlocking assorted paper structures or pieced sections of cotton duck fold into improvised mini-shelters. These paper sculptures offer hospitality, a place for the viewer to enter into the more alluded to in earlier works. To offer home through this mestizo mode, the mixing of media and forms as cultural enterprise, is an attempt to broaden the house. Hybridity as playful endeavor redeems disparate elements to grant immediacy and fluid intimacy enroute towards familiarity. This indicates the way art can be a unifying method that affords welcome to diverse schemes through quotidian stock mediums such as paper, paint, and cloth.


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