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Art allows Maria Park to find the equivalence between categorically different things, such as architectural space and a music composition, or a relationship between two people.

Lindsay France


Installation view of solo exhibition, Shelf Life, 2012. Bibliowicz Gallery, Cornell University, Ithaca, New York.

Shelf Life explores the reciprocal production of nature and culture in an installation comprised of paintings, objects, and the arrangement of objects and books on shelving.

Maria Park


Shelf Objects 1, 2012. Acrylic paint, Legos, and acrylite and photo-transfers on acrylate, 60 x 48 in.

Maria Park


Counter Nature 3-3, 2011. Reverse painted acrylic on Plexiglas, 30 x 30 in.

Installation view, Sabina Lee Gallery Los Angeles, California

William Staffeld


Installation view of Counter Nature Shelf Objects (9, 10), 2010, acrylic on 7-inch Plexiglas cubes and books on a 36-inch wide shelf.


Carl Sauer, Sixteenth Century North America, University of California Press, London (1971).

Donna Haraway, Crystals, Fabrics, and Fields, North Atlantic Books (1997).

Stuart Hampshire, Innocence and Experience, Harvard (1991).

Wiebe E. Bijker, Of Bicycles, Bakelites, and Bulbs, MIT Press (1997).

Paul Virilio, The Accident of Art, Semiotext(e), New York (2005).

Joseph Whitehouse, The Definitive Journals of Lewis and Clark, University of Nebraska Press (2003).

Maria Park


Installation view of solo exhibition, Composition, 2014. Margaret Thatcher Projects, New York, New York.

Composition is inspired by Francois Truffaut's Fahrenheit 451 (1966), a film based on Ray Bradbury's dystopian novel about the effects of mass media on literature. The awkwardness displayed in Truffaut’s first film in color as well as in English creates a film that is interestingly aware of the potentials and limits of its own medium. Viewers are asked to contend not only with its narrative content but also orient themselves within the space created by the separation of image and content. Composition seeks to address the tension between image and experience and between projection and presence. These works are also iterative plays upon our own relationship to both the idea and object of the book.

Maria Park


Bookends Set 4, 2014. Acrylic on two 7-inch Plexiglas cubes and five books on a 36-inch wide shelf.

The Bookend Sets comprise stenciled paintings of scenes from Fahrenheit 451 on the face and adjacent sides of 7-inch Plexiglas cubes arranged as bookends for selected books on wall-mounted shelves. These are attempts to compose the strangely self-aware moments in the film while positing ambiguity over whether the books in each arrangement are chosen for its cover or content.


Chris Kraus, Where Art Belongs, Semiotexte (2011).

John Muir, All the World Over, Sierra Club (1996).

John Muir, Mountaineering Essays, Peregrine Smith Books (1984).

Joseph Conrad, Tales of Unrest, Penguin Modern Classics (1977).

R.D. Laing, The Politics of Experience, Pantheon (1967).

Maria Park


Bookend Set 6, 2014. Acrylic on 7-inch Plexiglas cube and two books on a 24-inch wide shelf.


Michael Benedikt, For an Architecture of Reality, Lumen Books (1987).

William Golding, Lord of the Flies, Perigee (1983).

Maria Park


Bookends Set 3, 2014. Acrylic on two 7-inch Plexiglas cubes and four books on a 36-inch wide shelf.


Magnus Magnusson and Hermann Palsson, Njal’s Saga, Penguin Classics (1964).

Isak Dinesen, Winter’s Tales, Vintage Books (1961).

Herodotus, The Persian Wars, Modern Library (1942).

T.S. Eliot, The Waste Land and Other Poems, Harvest Book (1962).

Maria Park


Bookends Set 1, 2013. Acrylic on two 7-inch Plexiglas cubes and three books on a 24-inch wide shelf.


Carl Sandburg, The Prairie Years, Dell (1954).

Carl Sandburg, The War Years 1860-1864, Dell (1954).

Ray Bradbury, Dandelion Wine, Bantam Books (1985).

Maria Park


Installation view of Composition, 2015. Reverse painted acrylic on 8 x 10 in. sheets of glass. Margaret Thatcher Projects, New York, New York.

Covers 13-27 are images of Penguin Book covers published between 1937 and 1982, excluding both text and representational imagery.

Maria Park


Cover 17, 2014. Reverse painted acrylic on glass, 10 x 8 in.

Maria Park


Installation view from solo exhibition Composition. Bookcase, 2014.  Margaret Thatcher Projects, New York, New York.

The Bookcase series depicts books on shelves from various sources, brought together to position the viewer against a hypothetical collection purposed for collective rather than individual reading, with the idea that display has its own legibility and meaning. Each panel, varying in size from 7 x 7 in. to 7 x 21 in., is reverse painted with acrylic on sheets of Plexiglas.

Maria Park


Bookcase 1 and 2, 2014. Reverse painted acrylic on Plexiglas on wall mounted shelving, 7 x 21 in.

Maria Park


Counter Nature 1, 2008. Reverse painted acrylic on polycarbonate, 36 x 48 in.

The three-part series, Counter Nature, explores how landscape images, in packaging the experience of nature, deactivate our looking and respond to our anticipated experience of the landscape as an image. Following the notion of landscape as a culturally determined designation, the viewer is asked to take part in the reconstruction of these landscapes in an indeterminate space, where both the elements of the landscape and picture plane itself are in play, simultaneously projecting toward and receding away from the viewer.

Maria Park


Installation view of solo exhibition of Counter Nature 3, 2011. Sabina Lee Gallery, Los Angeles, California.

Alan Shaffer


Counter Nature 3 (set 1), 2011. Acrylic and transfer on acrylic 2.5-inch cubes.

A set of 12 cubes arranged like a game of block puzzle, whose composite image reveals the nature of the event in the paintings of Counter Nature 3 series.

Alan Shaffer


Site-specific permanent installation and commission  (2012) for the entrance lobby of the new patient care building, Sheikh Zayed Tower, Johns Hopkins Hospital, Baltimore, Maryland.

This project was part of an Art and Architecture initiative curated by Nancy Rosen.

Maria Park


Counter Nature-JH1, 2011. Reverse painted acrylic on Plexiglas, three panels, 36 x 84 in.

Frank DiMeo


Installation view of  Manifest Destiny, 2009. Seoul National University Museum of Art, Seoul, South Korea.

The installation, Manifest Destiny, uses images from the 2006 Lebanon War and two films: Stanley Kubrick's 2001: A Space Odyssey (1968) and Sam Peckinpah's The Wild Bunch (1969).

Park is interested in how these films demonstrate the subtle sanctioning of dehumanization through an aestheticization of violence, a mechanism often at work in media coverage of war. Here, human presence and significance are delimited to the exact space allotted on the screen/image. Park’s process of painting seeks to expose the dehumanization at work within the images through a relentless rendering of edges in shards of color, embedding subject into object, figure into ground. Like the notion of Manifest Destiny from America's westward expansion to space exploration, its aesthetic equivalent manifests a realm of behavior where human suffering may be objectified into pristine, crystallized images.

Maria Park


Detail of the Manifest Destiny installation (passage 14, stasis 7), 2009. Acrylic on expanded PVC, 39 x 115in.

Maria Park

Encountering an Artist’s Perspective

Art allows Maria Park to find the equivalence between categorically different things, such as architectural space and a musical composition, or a relationship between two people.