Maeve Doolan

Rejuvenation, MECA&D, Evans Hunt Gallery, Institute of Contemporary Art, 2023.

wool, embroidery floss, foam, resin, performer, 7’ x 12’ x 3,’ 2023.

In this piece I gave a loose set of directions to a hired performer to illustrate the sense that they are being recharged by a ornately sculpted floor mat. Over the course of twenty minutes, the performer goes from looking lifeless and asleep to slowly moving and regaining strength until they are energized enough to walk around the perimeter of the room. As they walk, the performer slowly starts to fade back to their original tired state. They make it back to the mat just in time to collapse again to start the cycle over once more. I’m thinking about concerns regarding unquestioned, utilitarian obligations and the apparatus we could use to revitalize our energy reserves.

foam, cloth, acrylic paint, resin, pushpins, pony beads, turntable, 30” x 24” x 24,” 2023.

Youtube (25 secs)

https://youtu.be/6BR8uOR0HmI

In this piece I created a seated, bulbous figure using a toddler’s snowsuit, brightly colored pony beads, as well as a turntable and a spotlight. It is placed on a pedestal in the center of a room where it floats and continually rotates on a steel stand a foot above its base. I was thinking about joy, touch, and the meditative experience of its construction.

latex paint, synthetic adhesive, jewels, 15’ x 15,’ 2023.

I created about a hundred different brightly colored laser cut adhesive vinyl spirograph designs with plastic gemstones and dramatic lighting to depict a floating body. I was thinking of a mandorla in my depiction of a floating figure, which is the symbol of two circles coming together and overlapping one another to form an almond-shaped frame that surrounds the totality of an iconographic figure. In referencing the mandorla, I was metaphorically thinking about the coming together of the visible and invisibility in nature.

foam, felt, LEDs, Saran Wrap, 4’x4’x4,’ 2023.

I created a slightly larger than life-size figure made of a wire and foam structure, with its surface wrapped in clear Saran Wrap, where brightly colored felt is both seen beneath and pulled through into gelled spikes, like hair standing on end when one gets goosebumps. Underneath the Saran Wrap, blue LED strip lights flow like eels underwater, mirroring the contours of the bulbous forms. In this piece, I’m visualizing the nourishing and electrifying flow of energy in my body.

video, 2023.

Youtube- 9mins

https://www.youtube.com/watch?v=feYyD4WjsEo&t=3s

My Walk Script- https://docs.google.com/document/d/1KUEpGWawmrbvd4xgVp0139ctj9zeaARAxrifOIDSdKM/edit?usp=sharing

I created a ten-minute looping video that consists of edited clips of my daily walk along with a recording of my voice describing moments that happen along the walk, all coming from a mounted screen and sound-cone. A sense of timelessness occurs when shots from various days and times of year blend together. The video sheds light on the poetry of each moment, the cyclical nature of the walk, and the benefits I get from this habitual action.

speaker, cordless lights, Synthetic Adhesive, plywood, 36” x 86,” 2022.

Youtube- 5mins

https://www.youtube.com/watch?v=UpDHTG6kCqw

This piece is composed of a life size figure, floating in a darkened space, surrounded by pulsating blue lights, accompanied by an audio track of me humming from behind it. The piece is meant to represent the essence of a person, the parts of a person that go beyond their visual and physical form.

vinyl, spray foam, beads, pins, 42”x 40” x3,” 2021, price upon request

I created this piece by filling pockets of colorful vinyl with inflatable foam, then adorned the hardened bulbous shapes with plastic beads. The use of contrasting, saturated colors creates a kaleidoscope effect. The overall image resembles a grotesque cartoon character that springs out at the viewer, as though from a jack in the box. Through this work, I am on a journey to mine the histories and feelings connected to objects and materials to produce an altered state of consciousness.

yarn, glass beads, on board, 39” x 28” x 2,” 2021, price upon request

I created this piece using a push needle and yarn as one would craft a shag carpet by hand. The question I’m investigating in the project is how do I collaborate with my materials? Some concepts evoked are exuberance, transformation, mascots, and dress.

paint marker, acrylic, and bristol on board, 30” x 24,” 2021, price upon request

In this piece, I sought to use different kinds of pasta in a manner similar to how one might use different colors to depict form. In choosing to use paper, laser-cut in the shape of pasta, as opposed to actual pasta, I am contemplating what it means to reference a material without it actually being present. I see this piece visually representing the resonance a tuning fork would have if it were to strike the depicted figure.

perler beads and acrylic on board, 35” x 21,” 2021, price upon request

In this piece, I started with Perler Beads, which aesthetically reminded me of weaving. I decided to depict a lifesize shirt with a rainbow plaid pattern. Through the metaphor of the shirt as a vessel, I’m questioning ideas of flatness, overstimulation, material, and meditation.

acrylic, googly eyes, & pom poms on board, 44” x 33” x 4,” 2021, price upon request

In this piece, I explored my lived experience of the yogic philosophy of the subtle body. I made specific reference to the Koshas, the energy sheaths of the subtle body, as well as the Chakras, the energy centers in the physical body. As a yoga practitioner, I am constantly striving to build a greater awareness of the circulation of pranic energy within my own body.

Soma, paper clay, acrylic, glitter, & pipe cleaners on board, 43” x 43,” 2020, price upon request

In this piece, I continued the exploration of my lifelong interest in Somatic Awareness. I find the practice of paying particular attention to the physical body extremely helpful in achieving a state of being mindfully present. The piece depicts a conglomeration of various body parts covered in eyes which evokes the act of scanning one’s own body. The title of the piece, Soma, doubles as the name of the depicted character.

quilling on board, 3’ x 18” x 2,” 2020, price upon request

The spring and summer of 2020 was a time dominated by the Covid-19 pandemic and the quarantine that resulted. In this piece, I spoke to the nature of the quarantine by quilling, an inherently detailed and time consuming technique. I was also drawn to the craft based history of this medium. The fact that many people seem to have tried it as a child, in conjunction with the bright colors of the paper, influenced me to choose one of my favorite childhood toys, a treasure troll, as a subject.

Zaftig, embroidery string, beads, & resin on board, 24” x 19,” 2019, price upon request

In this piece, I explored the craft based tradition of embroidery. My impression of embroidery is that it often depicts jovial imagery, and I reflected that by choosing a round woman wearing a 50’s swim cap and shell bikini as my subject. I enjoy how the medium lends itself to the depiction of both flat and modeled forms.

rhinestones, acrylic, & resin on board, 24” x 19,” 2019, price upon request

In this piece, I thought about how many cultures have historically represented people of power, being well fed, draped in luxurious fabrics, and dripping with jewels. I coated it in a shiny resin to reinforce this idea of wealth.

leather, acrylic, & glitter on board, 36” x 24,” 2018, price upon request

In this piece, a found piece of leather inspired me to explore various leather-working techniques. This exploration led me to ponder the myriad ways that animals are exploited.

glass, acrylic, & glitter on board, 39” x 8” x 29,” 2018, price upon request

In this piece, I had the desire to explore cut glass as a medium, inspired by stained glass windows and altar pieces. I have always romanticized the idea that illiterate people during the middle ages might see the stories of their faith depicted in the stained glass windows of a church. Inspired by this idea, I recreated the face from Michelangelo’s The Ecstasy of St. Teresa, a face frozen in the moment when Teresa is pierced by an angel and achieves enlightenment.

plaster, oil paint, & flocking on board, 24” x 6,” 2018, price upon request

In this piece, I altered a figure that I had sculpted from a live model. The comically contrasting colors and materials complement the more serious and traditional original figure. The aim in the final piece was to capture the light hearted goofiness of an old time circus.

oil paint on board, 33” x 24,” 2017, price upon request

In this piece, I thought about optics, color theory, and symmetry. It is a self portrait done in a regimented paint by number color format.

acrylic on board, 32” x 20,” 2016, price upon request

In this piece, I sought to expand upon my previous explorations in wood-veneering as a medium, but this time with paint as a material instead of actual wood. I did this by drying layers of paint onto acetate and cutting shapes out of the resulting acrylic sheets. It was with this piece that I first started to experiment with applying paint with a piping bag. I depicted a woman behind an ornate gate, which evokes feelings of otherness or feeling trapped.

veneer & acrylic on board, 34” x 24,” 2016, price upon request

In this piece, I chose the Roman god Bacchus as a subject because the traditional depictions of the god have long, flowing hair and beard. I have always been drawn to the visual and metaphorical attributes of hair, not to mention that these attributes lent themselves well to the wood veneer medium as well.

marble dust, embossing powder, & acrylic on board, 40”x 24,” 2016, price upon request

In this piece, my material goal was to mix marble dust into the paint and enamel to play with surface texture to describe a form that did not rely on color. I choose Mr. Potato Head as a subject because the nature of his interchangeable body parts works as a metaphor to allow him to be a stand-in for any viewer, as well as being a nod to my childhood. This piece marks the beginning of a desire to incorporate humor into my work.

acrylic on board, 48” x 27,” 2016, price upon request

In this piece, I thought about personifying the world’s oceans in a manner that alludes to the constellations that have been associated with grouping of stars in the night sky. The palette, brushstrokes, and style are a nod to Van Gogh’s Starry Night.

acrylic on board, 48” x 30,” 2016, price upon request

To make this piece, I began by cutting up my old figure drawings. I had been contemplating the rotational nature of the practice of drawing the figure from different angles. This rotational effort reminded me of many practices, but one in particular stood out in my mind. The Tawaf is one of the rituals performed during the Islamic pilgrimage to Mecca in which participants walk in a counterclockwise circle seven times around the most holy site at the end of their journey. The result is hypnotic simplicity and beauty.

paperclay, embossing powder, & acrylic on board, 48” x 24,” 2016, price upon request

In this piece, I wanted to experiment with paper clay as a medium to explore themes inspired by William de Kooning's Women series. I sculpted the piece out of clay, made a one part plaster waste mold, cast it in paper clay, and then painted the resulting sculpture. The armless torso is covered by scattered pairs of sculpted handprints, all meant to indicate a tactile exploration of the body by the figure itself. These handprints evoke the ideas of body awareness and celebration of the female body.

plaster & oil paint, 36” x 18,” 2015, price upon request

In this piece, I started out by paring down a figure sculpture that I had previously made. I simplified the original form, which had been inspired by the soft and haunting busts of Italian sculptor, Medardo Rosso. The armless torso is covered by scattered pairs of painted handprints, all meant to indicate a tactile exploration of the body by the figure itself. These handprints evoke the ideas of body awareness and celebration of the female body.

clay, plaster, & oil paint, 18” x 12,” 2015, price upon request

In this piece, I was inspired by the lovingly sculpted marble lambs that have been used to mark the graves of children for centuries. The large hands evoke the protective drive that adults feel towards the very young.

acrylic & paper, 120” x 24,” 2014

This project is an illustration of a short story written by Elizabeth Collin’s that tells the story of a personified bicycle riding alone through the streets of Shanghai, China. She wrote this story to shed light on difficulties that plague cities around the world in the modern age. In this piece, I chose a paper scroll as a surface in reference to eastern traditions.

plaster & wood, 10’ x 4,’ 2014

The inspiration for this project came during a trip to Alaska. I fell in love with the stylized totem poles throughout the area. The stacked structure of the objects solves the often problematic issue of structure in a simple and elegant way. I also love the notion of telling a story linearly from bottom to top in a manner similar to Trajan’s Column in Rome. In this column I tell the story of creatures that reside in different layers of the Earth’s surface.

plaster & wood, 9’ x 4,’ 2013

The inspiration for this project came during a trip to Alaska. I fell in love with the stylized totem poles throughout the area. The stacked structure of the objects solves the often problematic issue of structure in a simple and elegant way. I also love the notion of telling a story linearly from bottom to top in a manner similar to Trajan’s Column in Rome. In this column I tell the story of creatures that reside in different layers of the Earth’s surface. The head at the top symbolizes the divine.

marble & steel, 6’ x 4,’ 2012

As the viewer walks around the piece the image of the figure disappears and reappears from various angles. This feeling of movement, paired with the literal movement of the piece as it sways in the wind, alludes to Sisyphus' endless endeavor to push a boulder up a hill.

rebar and concrete, 2’ x 2,’ 2011

Each side of the cube depicts a similar figure in a different contorted position. As the viewer walks around the piece the image of the figure reappears and disappears from various angles and the sides begin to blend together.

Wheel, canvas, latex paint, & steel, 2’ x 1,’ 2011, price upon request

This piece is an exploration in painted canvas wrapped around steel to combine the human figure with some of the qualities of a wheel to evoke a sense of rolling movement. It has a stylized, compressed, kinetic quality. As the viewer walks around the piece the image of the figure disappears and reappears from various angles.

performance, burlap, & sticks, 6’ x 2,’ 2010

This piece is an exploration into how a person can activate a piece by becoming a part of it, inspired by the work of the Polish sculptor Magdalena Abakanowicz. The presence of the performer inside is not immediately obvious, leading to moments of uncertainty as they quietly activate the piece.

sticks, cotton, & nylon, 2’ x 3,’ 2010

While living in Venice, I would often go on walks to collect materials on the street. Elements such as discarded brooms, furniture, natural materials, and waste would often find their way into my work. This puppet-like figure, the result of such a practice, blurs the line between comical and disturbing in a manner similar to some of the work of the Spanish painter Francisco Goya.

wood, cotton, & fabric, 4’ x 2,’ 2010

While living in Venice, I would often go on walks to collect materials on the street. Elements such as discarded brooms, furniture, natural materials, and waste would often find their way into my work. The old, gray, and constricted qualities of this figure, the result of such a practice, evoke some of the feelings of that place.

trash & steel, 15’ x 2,’ 2010

While living in Venice, I would often go on walks to collect materials on the street. Elements such as discarded brooms, furniture, natural materials, and waste would often find their way into my work. This column, the result of such a practice, is an abstract representation of that place.

nylon, cotton, acrylic, & rebar, 2’ x 2’ x 2,’ 2010

Identifying as I do as a sculptor and a painter, I frequently think about the concept of space and how that transforms two dimensional imagery to three dimensional objects. The form of the piece is a cube, seemingly cut out of a larger whole. The relation of the cube to that implied whole is similar to that of a painting to the rest of the image beyond the borders of the canvas. I choose intestinal shapes to achieve a natural, visceral, and abstract form.