By Deb A.
Form is emptiness, emptiness is form. Inspired by her Tibetan Buddist practice, Hildy Maze uses her art to inquire into the nature of mind.
Her collages are made with environmentally friendly materials and rooted in a deep connection between mind and heart that allows her to begin her works from a pure uncertainty. Hildy's "an investigation of mind through art" is featured in Agave Magazine's upcoming 5-Year Anniversary Edition.
AGAVE: What does your collage-making process entail?
HILDY MAZE: All of these things, color, texture, tones are developed in various stages of the process. It begins with making drawings and paintings on paper using various colors and tools, like branches brushes, anything that will make a mark. There’s play involved, experiment, sometimes a specific image. I let the creative mind roam free, a state of uncontrived creativity where I step out of my own way. I call it making paper. Some of these drawings and paintings are put aside as complete. Others are strewn on the floor to begin a ripening process meaning the paper becomes a part of the existing tapestry of paper already spread across the floor. The haphazardly strewn paper reveals combinations I would not otherwise think of that attract me, and from this a collage begins, with pinning, ripping, cutting, folding, and so on. It’s a conversation without words or thoughts, preconceived ideas or attachment. The natural aging of the paper along with the wrinkling, stains, drips and casual handling of the already painted and drawn upon paper lends much of the texture. Out of this the colors, textures and tones arise. From this the image takes form. An instinctual energy seems to be doing it all. The images create and conclude themselves naturally. I have no idea what the finished piece will look like, its size or shape. I trust my instinctual knowing, the clarity of mind’s basic nature. I find the paper more beautiful and inspiring as it ages, adding texture and depth. then when it is freshly painted and drawn on. The aging paper reminds me of ancient ruins, old fabrics. There’s an earth quality to the paper that’s attractive to me. It displays impermanence and imperfection, which is part of life.
What techniques do you use to persuade the viewer to go beyond the image presented?
Touching on combining symbols and emotions that could possibly persuade the viewer to see in a personal way beyond the image. Also naming the work which evolves when I’ve arrived at that point of leaving the work right there without trying to improve or manipulate it. Once it’s completed I distance myself and quiet my mind to allow some kind of essence of the image to speak. The title may arise immediately, other times it may take a few days. I don’t make an effort to walk the viewers through their visual experience since I have no idea what that may be. I just point in a direction of possibility.
The titles of your works are often stark and provocative: her emptiness, unknowing the confusion, unrelenting, when coping strategies fail... what do you believe is the importance of a strong title?
Strong titles are important if there is something I want to share or discuss with the viewer. Titles help select what that discussion could revolve around. Of course this may not happen and I don’t consider audience reception in making the work. I have an abiding belief in the titles and the ability of oil, paint and paper crumpled, torn, aged or flat and the genre of abstraction to best communicate and possibly seduce the viewer to make their own journey into their humanness. It’s not a requirement, more like an invitation.
What can you achieve through collage that is more powerful than with other mediums, and when do you prefer to rely on another art form?
My relationship to collage is somewhat magical and indescribable. What I achieve through collage I don’t think I could achieve in any other way. It seems to be instinctual for me. An endless dialogue. Also the process involves painting and drawing so I don’t have to rely on any other art form since the process, covers it all. I do work with clay from time to time, but that’s a completely different story…..
What are you proudest of so far in your career as an artist?
I’m proudest of embracing the challenge of actually doing my work consistently with curiosity and enthusiasm everyday.
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