Peripheral ARTeries meets
Hildy Maze Lives and works in East Hampton, NY, USA My work is driven by a curiosity into the investigation of mind thru art. None of us can avoid thoughts, but through awareness of our pitfalls, beauty, strengths and weaknesses we can open windows into the mind. The core of my contemplative art practice is to visually embody the blind spots as a result of our thoughts. I am interested in the study of how the mind works as a means of gaining insight, how we communicate, how we create identity through form, emotions and consciousness, and how we hide in that creation. Essentially this work is about all of us and the empty, clear and unconditional nature of mind we all have. When we know the nature of our mind we will know the nature of our world. My work is developed with the view that art has the capacity to infuse the experience of everyday life with awareness. Using my experience of passion, aggression and ignorance I delve into the discursive thought patterns and emotions that obscure the recognition of our basic nature of mind which is empty, lucid, all-accommodating space continuously awake and aware. I’m interested in persuading the viewer from the boundaries of the image, to engage with matters beyond what is immediately visible; to relate with who we are as deconstructed,un-created, i.e. more expansive and gentle than our usual descriptions of ourselves and how the culture defines us. Everything begins as thought,then manifests as a physical reality. We are not going to fix our world without healing the patterns of thought that are driving the world into its present state. By delving beneath the turbulence of thoughts we can uncover in ourselves “something” that we begin to realize lies behind all the discursiveness, changes, and deaths of the world. This is the most rebellious act of all imbued with social impact and non-conformism to actually glimpse,then realize the profound truth we all have. The work on paper has been archival treated.
An interview by Josh Ryder, curator and Melissa C. Hilborn, curator
graphic-design sensibility which is sometimes a hinderance. Because of that I like to mix as much drawing and painting and ripping into the work to juxtapose the design quality. At Pratt I had a very good graphic design instructor, Charles Goslin, who had more confidence in me than I had in myself, and his rigorous critiques of my work pushed me to think precisely, pay attention to detail, and relax without worrying about the result.
Hello Hildy and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your background. You hold a solid formal training and you hold a BFA that you received from the prestigious Pratt Institute. How did this experience influence the way you currently conceive and produce your works? And in particular, how does your cultural substratum inform the way you relate yourself to art making?
The underlying influence that informs my work is decades of study and practice of Tibetan Buddhism. In 1979, a friend sent me a copy of the Prajnaparamita, or Heart Sutra based on realizing the non-conceptual simplicity of reality, “form is emptiness, emptiness is form”. Within a
My main focus at Pratt was graphic design. I seem to have an almost over- powering