Maaike Anne Stevens

  • Erika
  • BlackSea
  • Tools
  • diptych
  • Underwater

Maaike Anne Stevens is a London based artist and printmaker who graduated from the Goldsmiths MFA programme in 2012. Maaike was also awarded the londonprintstudio New Graduate Award in 2012, the award is designed to support new graduates with the aim of pushing the boundaries of individual artistic practice, and helping artists develop their creative careers. Over the past year Maaike has developed new techniques and processes using the londonprintstudio print and digital studio to produce her work.

Maaike was also short-listed for the 2012 Jerwood Drawing Prize and recently completed a year-long residency with ACME Studios where she was the recipient of the 2012/13 Chadwell Award.

By compressing the temporal boundaries between a private space and the public realm or between a past occurrence and a future event, Maaike investigates the transitional state between personal drives and appropriated behavioral patterns. This exploration of the notion of a shared identity sits on a sliding scale between being online and being physically present, set within a landscape marked by Facebook posts and age-old rocks.

The prints featured in the exhibition are part of a larger body of work, which will be exhibited at the Acme Project Space in London from 21 March. The port city of Odessa on the Black Sea acted as a stage for an enquiry into the rich synthesis of historical events and narratives around the area. The work in the exhibition will be a combination of moving image, text, print and sculptural forms and marks the end of the residency with Acme Studios, as part of the Chadwell Award.

The beginning. A narration or a song. When Law was one man in the village and imagination was not yet a word. The authority of a rock, the tyranny of the body.

Change. A certain density of material or an intensity of movement becomes a quality to be distinguished, an action to be judged. Each moment encapsulated by an intimate eeriness, which evaporates as soon as it receives its name.

The authority of the body of the Tyrant.

If she is a city, people will inhabit her. Just like the absent presence of their touch, the site of this pain is ambiguous: her hands and lips are not the first to absorb the shock, it is the role of her eyes, her mind, a wanted version of herself. Through various openings she is inundated by neural suggestions, travelling along meridians, establishing a cellular mirror- image within her body.

Communicating surfaces, almost touching. This mass of intimacy is no longer hers.

Divide and rule, the democratic tyranny of the online body.

If she is the body of land surrounding the Black Sea, where is her heart? She needs more mass to fill the space. Her skin and flesh are separated in an uneven stretch.

She is the dark water. Her anoxic womb gives birth to pristine objects. Frozen human gestures. Time so dense that it sinks to the bottom of the sea.’‎

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