MAYSEY CRADDOCK Representation (3) Website CV
Memphis, TN | Painting, Mixed Media, Drawing
Maysey Craddock is an artist exploring themes of transience, impermanence and memory in the landscape. She currently splits her time between studios in Memphis, TN and the Alabama Gulf Coast. Craddock received her BA in 1993 from Tulane University in New Orleans and her MFA in 2003 from Maine College of Art in Portland, Maine.
Since the mid-nineties, Craddock’s work has appeared in exhibitions across the United States and in Germany. Craddock has been an artist in residence at Oberpfälzer Künstlerhaus in Schwandorf, Germany; Maine College of Art in Portland, Maine; and the Virginia Center for Creative Arts in Amherst, Virginia. She is also the recipient of two residency grants from the Vermont Studio Center and grants from the Louisiana Endowment for the Arts and the Tennessee Arts Commission. In 2014 Craddock was awarded the Individual Artist Fellowship Award from the Tennessee Arts Commission. In 2015 she was awarded the Austin Peay State University Tennessee Artist Fellowship. Her work can be seen in many public and private collections, including the Brooks Museum of Art in Memphis, Tennessee and the Arkansas Arts Center in Little Rock, Arkansas. Recent shows have included Strand at David Lusk Gallery, Memphis, and Langham Sea at Sears Peyton Gallery, New York . In 2016 she is looking forward to solo exhibitions at Cris Worley Fine Arts in Dallas, TX and David Lusk Gallery in Memphis, TN.
Outside of the studio, Craddock has developed a comprehensive Professional Practices workshop aimed at assisting artists in developing an articulation of their work and studio practice. This work with artists’ best practices has extended into advocacy for visual artists in the Memphis area; Craddock has been working with ArtsMemphis, a regional nonprofit arts granting organization, to build their first ever granting program for individual artists. Her curatorial work at The Medicine Factory in Memphis includes how far back do you want me to go : An Installation by Clover Archer Lyle and Parts to a Whole : Liz Sweibel and Ben Butler.
Craddock’s watercolor and gouache paintings on sewn paper bags reflect the strength and promise that can be found in profound change and loss. Based on her own photographs of shifting landscapes, her paintings are intricate renderings of the intersection of man and nature, conjuring an atmosphere of absence and reclamation.
She is represented nationally by David Lusk Gallery, Memphis; Sears Peyton Gallery, New York and Los Angeles, CA; and Cris Worley Fine Arts, Dallas.
For the past ten years, I have been drawn to architectural ruin as a visual exploration of themes of impermanence, mortality, memory and entropy. The questions I asked in this work continue to drive my paintings, but I have shifted to exploring them in the context of the natural landscape - in particular the places where water meets land. My recent work work reflects this shift in my imagery, and is based on my interaction with and documentation of a specific landscape: the Alabama Gulf Coast.
We think of land as solid and immutable, heavy and dense with proscribed edges and borders (geological, political, cultural, personal), but it shifts as drastically and permanently as anything in our natural world. Coastlines are especially vulnerable to change: the ravages of storms, natural erosion, marshes’ and estuaries’ fragility and, of course, man’s manipulation of the land. We shore up, close in, confine and try to tame this ribbon of tenuous border between land and sea, and any remaining patches of wild and verdant coast diminish steadily.
My gouache on found paper paintings are based on own photographic exploration of these meandering shorelines. From these images, I create an abstracted drawing of the landscape, editing out information and bringing the work into my own hand. This line drawing is then transferred to a prepared surface: a “canvas” made of stitched together plain paper bags. Onto this thin veils of gouache are intricately applied to bring the image into another atmosphere, a new poetic interpretation that hovers between object and representation. These sculptural, stitched together surfaces, with their layers of painting and drawing, are like the palimpsests I seek in the landscape: the strata of meaning and experience in a specific place.
Change is a constant in a world that is full of drastic quick shifts, death, inexplicable destruction by man and by nature, and of course the slow plodding progress of time. But there is also new energy in change: birth, reclamation, and the wisdom and grace that come from accepting this duality. As an artist, I function as a link between this landscape around us and the possibility within it. One doesn’t have to go far to key into a quality of presence. It is available, all around us, waiting to be heard.