In Maria's earlier work there is a preoccupation to work through layers leaving behind marks, shapes, and colors to transmit the history of the art act. These ghosts also signified the more that lurks beyond concrete things. They conceptual point to the way meaning is embedded in the material, and through actions that afford sacramental possibilities. By and by, collage arrangements replaced flat painting surfaces carrying the same quest to relay what lies beyond. The paper works contrived windows into inner landscapes made accessible through pierced and cut latticed skins. Finally, present work rises out of two dimensions formulated by farraginous forms that perform as mini-refuges. In nest-like fashion, interlocking assorted paper structures or pieced sections of cotton duck fold and twirl into improvised mini-shelters. These mini-sculptures offer hospitality, a place for the viewer to enter into a housed more. Through this mestizo mode--the mixing of media and forms that also represents a cultural mixing enterprise--an attempt is made to broaden what George Steiner states as humanity's "small house of our cautionary being." Hybridity as playful endeavor redeems disparate elements as a means to grant immediacy and fluid intimacy. This indicates the way art can operate as a unifying method that offers 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.