My variety of subject matter has one thing in common, it tells a story. I am inspired by personal experience, my reaction to current events and pop culture. Thought provoking and sometimes humorous titles can give you clues as to what is going on in my paintings. However, people have made their own interpretation of the title and imagery, which sometimes surprises me. Some paintings could germinate from a photo I've taken ten years before. A photo can lie in wait for a while, a concept can float in and out of my daily life until something gels and I start sketching the basis of the painting. Often, an idea for a painting can be more spontaneous, yet the execution of that painting still takes time. Acrylic paint is my medium of choice on canvas, and an occasional mixed media style lets me express much more. I am torn between painting and the process of combining found and new objects. My paintings may take more time to create; my assemblage boxes are literally more spontaneous. Objects usually create a piece of art. I can also arrive at a title, and then construct the art from that concept. In any case the assemblage piece holds the same fate of telling a story.
Hawaiian born (1955) Maggie Yee is primarily a painter, who takes full advantage of the creative possibilities that modern acrylic materials afford. Paint and canvas provide the ideal form of expression for her stream of ideas. Partly self taught, and West Coast educated, she has been expanding, rather than transitioning, into assemblage of various types. She has had group shows in Los Gatos, Los Gatos Museum of Art, Los Angeles, Craft and Folk Art Museum, Oakland, Joyce Gordon Gallery, solo shows in Hawaii and California. After contributing many original collage works to Joe Cardella’s Art/Life” Magazine for seven years, it was time to launch “Folio 94, Conversation for Those Who Create” in Honolulu. A portable gallery style of hand bound images, 3-D design, and poems from 1992-1998. Opportunities to branch out into International Mail Art (Postal Art) arose in 1996. Explaining the natural attraction to Mail Art and assemblage, she comments, “At a very young age, I created quite a few assemblage projects, and invented various imaginary scenarios to accompany them. Not by accident, my abstract toothpick sculpture caught fire, long before Burning Man appeared.”