Artist Portfolio

Christina Maile

Artist Biography

CHRISTINA MAILE

Lives and works in NYC. Co-founded the Westbeth Playwrights Feminist Collective. Became a landscape architect. And now a printmaker.

 CONTACT: mailestudios@gmail.com

 WEBSITE www.christinamaile.com

 EDUCATION
BA Medieval History – Hunter College, NYC
BS Landscape Architecture – City University, NYC
Licensed Landscape Architect – New York State
Printmaking - Manhattan Graphics Studio
Solar printmaking – Dan Weiden

 EXHIBITIONS
Westbeth Gallery, Printmakers from Mexico, Cuba and New York, 2016
International Print Center of New York, juried show, 2016
Westbeth Gallery Printmakers Show 2015
Metropolitan Museum, NY Multimedia Pop Up show 2015
Rebel Gallery, NYC 2013
Monmouth Museum, Lincroft, NJ 2012
First Street Gallery, NYC 2011
Rogue Gallery, NYC 2010
Deer Island Art Gallery, Deer Island, ME 2007 - present

 COLLECTIONS
Elizabeth Sackler Center for Feminist Art, Brooklyn Museum,
New York online catalog
Private Collectors including
Edward S Casey, CA and NYC
Vin Diesel, CA

 GRANTS
Pollock Krasner Foundation Grant 2013
Joan Mitchell Studio Grant 2013

AWARDS
Miriam Chaikin Endowment Fund Writing Award 2017

 PUBLICATIONS
San Francisco Journal of Hope and Peace Winter 2016
San Francisco Journal of Hope and Peace Spring 2015
 PROFESSIONAL AFFILIATION
New York City Artists Circle, NY

Artist STATEMENT

My printmaking emerges from my career as a landscape architect, and my years as a feminist playwright and theater producer.

While writing and design allowed me to experiment in different ways with the dynamics of gender, identity, and nature , it was through printmaking that I found a way to examine in solitude, these ideas, especially within a specific cultural context.

As an artist of mixed West Indian and Dayak heritage, some of my work explores the complex iconography of the colonizing narrative especially its photographic imagery of women and children. Juxtaposing these images with artifacts of power, patriarchy, racism, and ignorance has become a way for me to both pictorially subvert the original message, and to externalize the responsibility of the artistic gaze .

And that responsibility has grown: to look at what is being seen. To be impious of my own experience. To use the grammar of provocation, metaphor, and archetype in order to find resonance with those who are unheard, and give representation to the marginalized and the suppressed, whoever they are, wherever they exist.