Madison’s abstracted mixed media work is largely concerned with the shifting play between light, color, shape, and overall design. From her oils on paper to her collage work using acrylics and found images, she is always pushing the line forward in her work. Her palette of neutrals and more geometric shapes is sparked always by graphite scribbling and areas of saturated color.
While completely abstract, this collection nods deeply to the landscapes of my daily life: the great, flat valley and Berryessa mountains - aerial views from drones and airplanes - books I am reading – visits to the sea - riverbed rocks and stones that I gather and keep with great affection - my garden with its palms and birds - and the extraordinary California art I am fortunate to witness.
On a good day in the studio I work fast and talk out loud to the elements as I go. It is like a raucous party attended by Miles Davis and Mozart, Gregorian priests and my mother, an old boyfriend, Donald Trump and the Dalai Lama, Marilyn Monroe and an elderly Agnes Martin – all showing up as the shapes, lines and colors go down. I’m never sure who or what is going to appear or if the parts will play well together. Inevitably there is the complicated problem of too many characters on the canvas and I have to start negotiating: which parts stay and which get painted out. The wordless language of painting is about bringing something to life and being willing to let it go. Dare to say goodbye to the precious bit and hallelujah! Something wonderful shows up in its place. Suddenly, I know the painting is finished. A balance of generosity and ruthlessness, an equal presence of thought and impulse – it all plays a starring role in my paint universe, my TRUE NORTH.