In early work, Maria's layered paint process disclosed marks, shapes, and color choices partly hidden yet alive enough to transmit the canvas' history. These ghosts also signified the more that lurks beyond concrete things, their embedded meanings, and sacramental possibilities. By and by, collage arrangements replaced flat painting surfaces carrying the same quest. These paper works peek into inner landscapes made accessible through pierced and cut latticed forms. 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 sculpted more. Through this mestizo mode, the mixing of media and forms as cultural 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 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.