Maureen Meyer

BIO

Maureen Meyer (b. 1976, Nuremberg, Germany) received her degree in graphic design from The Pennsylvania State University in 1997. She has held design positions at Calvin Klein, Visionaire / V Magazine and co-founded the women’s clothing line Flowers of Romance in 2005. Her career in fashion and textile design has been an influence in her paintings. While studying at the Women’s Studio Workshop (Rosendale, NY) in 2007, Maureen’s relationship and experimentation with indigo dye began. Her work has been shown with Young Space at Standard Projects (Hortonville, WI), Alfa Gallery (Miami, FL), The Painting Center (New York, NY), Chesterfield Gallery (New York, NY), The Wassaic Project (Wassaic, NY) and NURTUREart (New York, NY). Maureen won the Art Slant prize where her work was shown at Aqua Art (Miami, FL) and has been featured in ArtMaze magazine. She lives and works in Brooklyn, NY.

ARTIST STATEMENT

My paintings are inspired by my background in fashion and textile design. My process begins with fabric experimentations, using various dyeing and staining techniques. The materials are draped and stitched to create a balance of tension and delicacy with a sculptural quality. In this series of paintings the materials guide my process, allowing the shape and texture of the dyed materials to evolve naturally while accentuating the inherent beauty of the materials.

Interview with Maureen Meyer

Can you tell us a bit about your background and how you became interested in becoming an artist? 

I moved around every few years growing up because of my Dad’s job. Art and drawing were always a constant and a solace when I was in a new environment. I went to college at Penn State for graphic design in 1993. The program was more focused on photography and illustration with less emphasis on the computer. This allowed me to work in various mediums and also felt more like a fine art program. My first job after college was as a graphic designer for Calvin Klein. This began my ten year career in fashion. I later held design positions at Visionaire / V Magazine and co-founded the women’s clothing line Flowers of Romance in 2005. My focus was mainly in textile design. In 2007 with my partner, whom I met while working in fashion, moved to North Adams, Massachusetts. I needed a respite from the fashion industry which led to my interest in painting again.

Can you tell us about some of your most memorable early influences?

My Mom was always doing crafts and various painting projects when I was growing up. My Aunt had her beautiful oil painted still lives hanging throughout her house. I remember being in awe of their creations. When I attended high school in Melbourne, Australia where my Dad was working at the time, I had the most amazing art teacher named Mr. Lee. I would spend much of my time in the studio, getting out of other classes so I could go back to the art studio. Mr. Lee was so supportive and constantly encouraging me. He was instrumental in my path as an artist and gave me confidence in my work. An early influence that got me back into painting was in 2007, when I took a class on indigo dyeing at Women’s Studio Workshop in Rosendale, NY. This began my ongoing interest in indigo and led to my first series of paintings that are based on various resist dye techniques using indigo dye.

Where are you currently based and what brought you there? Are there any aspects of this specific location or community that have inspired your work? 

I initially moved to Manhattan in 1998 to pursue a career in graphic design. I have been based in Brooklyn for the past 12 years. The area in Brooklyn I’ve settled in has a charming neighborhood aspect with a lot of green space that I really appreciate. My home has a small garden area that I enjoy working in and has inspired my work.

What is your studio space like? What makes your space unique to you? 

I am lucky to have a small studio space in my home. It has a large window that lets in beautiful daylight. There is a lovely courtyard garden outside my window that I look at throughout the day while I am working. I have plenty of books and flowers around my studio space to inspire me. My partner Timothy Nazzaro who is also an artist works from home too. It is vital to have some one else to discuss ideas with and show work to throughout my process. The dream is to one day share a larger studio together.

What is a typical day like? If you don't have a typical day, what is an ideal day? Do you work in large chunks of time, or throughout the day?

I usually start my day with yoga or a walk in the park if the weather is nice. An ideal day in the studio usually begins late morning working until dinner time. Depending on what I’m working on I might go through fabrics I have dyed or continue work on a painting I have started. The end of an ideal day is dinner at a local restaurant with my partner to catch up on the day.

What gets you in a creative groove or flow? Is there anything that interrupts your creative energy?

I recently started learning mending techniques from a friend. I have been repairing a well worn, much loved denim jacket of mine. The process of mending begins to feel like a form of meditation. It is a beautiful way to give my mind a rest and puts me in a calm creative space. I would eventually like to incorporate some of the sashiko and other mending techniques I’m learning into my work. I also love to have music playing in the studio to create a pleasant vibe.

How do you maintain momentum in your practice? Is there anything that hinders or helps your focus? 

I find it helpful if I am working on a couple of pieces at the same time. This allows me to switch back and forth if I get stuck and it helps keep my momentum going. I enjoy having books around to reference when I need a little inspiration. Sometimes I will work on a small watercolor if I need a time to pause but still be creative. It is always helpful to be able to check in with my partner and talk through a problem or get a critique on what I am working on.

What medium/media are you working in right now? What draws you to this particular material or method? 

I recently started using earth pigments mixed with an acrylic base in combination with indigo dye. The earth pigments have a nice chalky quality and can be diluted and used like a dye. I have also started washing the linen and canvas. It adds a beautiful texture and softness to the materials. I have been incorporating aspects of nature in my new works by using ferns and leaves to create a resist on the fabric.

Can you walk us through your overall process in making your current work? Does drawing play a role in your process?        

I begin by washing the cotton or linen so it becomes softer and more textural. Sometimes I dye the fabric first using indigo. Then I mix the earth pigments with acrylic and apply with various brushes and sometimes using flora like ferns and leaves in place of brushes. Once I am content with the imagery I drape the fabric over a frame and begin folding and pinning the materials. I finish by stretching the fabric over the frame and finally tacking some of the folds in place.

What is exciting about your process currently?

My current process is a new direction for me so that is exciting. I really love working in a more sculptural and tactile way. The new work does not rely on sketches or references. I let the fabric and materials dictate the process so the outcome is always a surprise. The overall process is much looser and experimental than my previous series of acrylic paintings on canvas, which has been invigorating.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

My career in fashion and textiles has consistently influenced my work. Indigo dye and resist dye techniques have been a constant in my work from the beginning. I am always inspired by the movement and beauty of nature and flowers. I am starting to use flora as a resist tool and would like to add more stitch work to future paintings.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors? 

In the past I would do various freelance textile design projects. Over time that has become less and less since I have been focusing more on my paintings. I have recently been working on some commissions for specific spaces which is a new and interesting challenge.

Have you had any epiphanies recently that have changed the course of your work or caused you to shift directions?

I always had this idea of moving towards a more sculptural, less rigid type of painting. I started physically draping the painted fabric over a wooden frame which led to my current series of work. I was able to accomplish the effect I wanted by draping then stretching the materials.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music — that are important to you?

I recently read Bluets by Maggie Nelson, a beautiful poetic memoir about her lifelong obsession with the color blue. The Belgian designer Dries van Noten is a constant influence with his colorful floral prints and nod to nature in his textile designs. A couple of years ago I visited Georgia Okeefe’s home in Abiquiu, NM and was so inspired how her home was a continuation and vital part of her creative process. The Vivian Suter exhibition at Gladstone gallery has always stayed with me. Her loose canvases combined with the untraditional way the show was hung, created a magical, floating landscape. I always go back Sheila Hicks brilliant sculptural textile work for inspiration.

Can you elaborate on a recent work of yours, and tell us the story of how it came to be? 

My recent paintings have been a new direction for my work. I wanted to incorporate aspects of nature, I did this mostly by placing flora on the materials and applying paint or dye to create a resist. At the same time I began experimenting with earth pigments. I wanted to deviate from solely using indigo as my medium and earth pigments seemed like a natural progression.

Have you overcome any memorable roadblocks or struggles in your practice that you could share with us? 

For a long period time I was imagining moving away from more straight forward acrylics paintings towards more sculptural work. After much experimentation, I began draping and folding the materials over a wooden frame and I was able to accomplish the sculptural quality I was longing to achieve.

Who are some contemporary artists you’re excited about? Is there a recent exhibition that stood out to you?

I admire the artist Sarah Crowner’s large organic sewn paintings. I am intrigued by the artist Sergej Jensen’s use of various textiles and techniques in his work. I recently saw the exhibition Joan Didion: What She Means by Hilton Als at the Perez Museum in Miami. It included work by Ana Mendieta, a series of photographs of her “earth-body sculptures” in nature. I love her work and it was especially powerful within the context of Joan Didion’s writing. Another recent exhibit that inspired me is the Hernan Bas exhibition, The Conceptualists. His beautiful show at the Bass Museum in Miami depicts fictitious conceptual artists in a wonderfully clever and romantic way.

I am always inspired by my partner Timothy Nazzaro’s black and white photography along with his constant creativity and fearlessness with various mediums.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful? 

Keep going with your idea and see what it evolves into.

What are you working on in the studio right now? What’s coming up next for you?

I recently made a vat of indigo and dyed a large amount of fabric. I do most of my dye projects at Timothy’s parent’s house since they have a backyard. I used various shibori techniques including stitching and clamping combined with elements of nature to resist the dye. When I have this abundance of materials it allows me to really experiment. I am looking forward to now taking those materials and applying earth pigments as well as incorporating more stitching techniques.

Anything else you would like to share?

Thank you for including my work!

To find out more about Maureen Meyer check out her website and Instagram.