Onwards and Upwards

The tension and imbalance in this piece is exaggerated to an extent that it moves beyond disturbing to almost cartoonishly dynamic. Despite the subject's total lack of mobility, he appears to be almost flying across the frame. This is, of course, an allusion to the speed of life, in this case both the all-too-rapid growth of an infant and the speed at which the world undoubtedly appears to the infant to be coming at him.

Taken 2007, June 1, 5:30:41 pm

Still Life: Picnic

This minimalist still life, while appearing simplistic, follows the rules of poetry to evoke a rich set of emotions: using an absolute economy of elements, each with a strong meaning and associated set of memories and emotions for each observer, the piece constructs a portrait of a scene composed entirely from the viewer's own experience. Car keys evoke travel, green grass suggests a cool Spring day, a bag and bottle of water bring to mind a rustic but rich meal, and the appearance of a sneaker in the corner suggests comfortable companionship.

Taken 2007, May 19, 12:42:14 pm

Outsider Art

While the perspective of this scene of sand-sculpting and splatter-painting from the shadows on the periphery conveys an initial impression of barely-contained chaos and noise, the viewer quickly realizes that it is in fact a loving depiction of the joy of creation and the creative process, and how that enthusiasm infects both the artist and the observer and can, in fact, spur the observer to create themselves -- whether that be the children innocently playing in imitation of the sculptor on stage, the parents creating photographs of those children at play, or Maeve herself contemplating the scene as a whole.

Taken 2007, May 19, 12:41:48 pm

Analog

The unusual but dynamic and involving composition of this piece reflects its theme of adventure. The viewer's eye is drawn gradually across each of three facets of this theme in turn: the epic and richly imagined adventures that are the domain of fiction and culture, the everyday but nonetheless vital domestic adventure of life and survival, and the ultimate adventure of exploration of the unknown, drawing us towards a horizon of beauty and mystery. The key to this piece is its seamlessness, how these themes are presented clearly but almost subliminally in what appears at first glance to be a straightforward still-life diorama.

Taken 2007, May 15, 6:25:48 pm

Baby, Sleeping

The subject of this piece, a peacefully sleeping infant enveloped in the warm security of a tightly-wrapped blanked, is subtly at odds with the composition and lighting, every aspect of which -- from the tension and imbalance of the tilted composition to the cold, overexposed lighting -- plays against the peacefulness and security which form the viewer's first impression. Such justapositions are a device used commonly in Maeve's photography, which often feature an apparently random mismatch between subject and technique, the meaning of which only becomes apparent on further reflection.

Taken 2007 May 15, 6:23:57 pm

Picture of Baby

By concentrating on the negative space framed by Maeve's new brother and an anonymous parent focussing quite tightly on the baby, as he reaches back tentatively, Maeve examines the relationship of a family with a new member, capturing a fleeting glimpse of fascination, caring, dependence, and the tendency for the new relationship to cast life as it had been into the background, if only temporarily.

Taken 2007, May 14, 5:40:44 pm

Rush Hour

The confluence of ice cream and a Spring day engenders both relaxation and earnest action. In this straightforward work, Maeve paints a portrait of a slice of classic Americana updated to a modern setting, in which frenetic activity is not at odds with simple pleasures.

Taken 2007, May 13, 6:35:21 pm

Green Grass

This photograph, a take-no-prisoners application of texture as subject, is mesmerizing and evocative as forms and patterns slip in and out of visibility, with depth and scale infinitely elusive. At the same time, however, it pokes fun at the themes of "green" and the "environmental movement" by taking them literally and going entirely over-the-top, while simultaneously suggesting that the "green" movement is just as thematically slippery, as arguments and motives of elusive scale and depth deny attempts to characterize the meaning of the environmental crisis as a whole.

Taken 2007, May 13, 6:29:01 pm

Little House

The well house in this photograph -- perhaps the guardian not of a well but of a rabbit hole -- takes on an alternate life as the miniature centerpiece to a Lewis Carroll-esque scene of idyllic simplicity and absurdist scale. Only the picnic tables disturb the carefully crafted illusion, a reminder that despite the apparent refinement of the work, Maeve's journey as an artist has not yet reached its pinnacle.

Taken 2007, May 13, 6:26:25 pm

Picture of Apples

This reflection on art uses a skewed perspective, uncomfortable, disjoint composition, and featureless background to highlight the serene richness of the classical art at its focus. In addition, the strangely still, silent feel of the piece as a whole is a play on the genre of its subject, a "still life". There is no message here, no theme, leaving the viewer to contemplate the beauty of the painting itself, and how that beauty either impacts our lives or exists in isolation from them.

The artist wishes to thank the North Carolina Museum of Art for generously allowing this photograph to be taken.

Taken 2007, May 13, 11:46:06 am