As It Lays
In the exhibition, a photographed series of geometric and architectural arrangements—including unfixed photograms, colored paper, and found photographs—coalesce and diverge, revealing a series of colors, patterns, and gestures that almost appear to be coded with their own symbolic language.
Drawing, painting, theatrical lighting gels, and scraps from previous printed works are added to the surface of most but not all prints, situating the work between collage and photography. Afterwards, the prints are mounted onto panels with edges painted to either match or respond to the corresponding image - the periphery extending or containing the frame.
As the materials accumulate from one piece to the next, Maisel’s unruly yet strangely cohesive collage becomes less integrated into the depicted space, creating an unexpected clash between the elements, as well as a sense of attenuated order.
Depth of space dances with the flatness of his chosen materials—and as forms shift, so do order and position. Although the sequence in the work is connoted by numbered titles, the add-on of collage material shifts the relationship of time inherent to each piece and disorients the viewer’s sense of progress and directionality.
The organic forms in Maisel’s work allow for a looseness, playfulness, and fluidity that seem to stand in opposition to the obsessive detail of his pieces. There is no sense of resolution or a final interpretation. Rather, the focus on multiple permutations, repetition, reconstruction, and layers roots us in a series of works that are more invested in process and discovery than predetermined outcomes.