Stephen Mauldin’s Experimental Painting Techniques

by Paul Weiner

Today’s interview is with Stephen Mauldin, a painter and instructor living in Oregon with great interest in creating new painting techniques to express content he has developed for over forty years. Mauldin holds an MFA with a concentration in painting and printmaking from the University of Idaho as well as a BA in art from Oklahoma City University. He has exhibited his work in many galleries throughout the Northwest and beyond. Read the interview, and then find more information and artwork online at




Paul Weiner:
How has your experience as an educator affected your artwork in terms of process and aesthetic preferences, if at all?

Stephen Mauldin:
I can’t say that my teaching experience has affected my process or aesthetic preferences. Teaching basic design and color theory has certainly deepened my understanding of basic design principles and the intricacies of color, but I think what teaching does most is to keep things fresh. All the knowledge and skills one uses as an artist are eternally fresh for each new group of students. Their enthusiasm for receiving that knowledge and acquiring those skills prevents one from taking it all for granted. Plus, one continues to learn as one teaches. My knowledge of art history ,though still limited by most standards, I think, has expanded exponentially over the years due to teaching.

The deal is, I’m a single-minded guy. I think it was Matisse who said, and I’m paraphrasing here, that every artist has one idea they refine for a lifetime. That’s certainly been true in my case. I’m still addressing the same issues I was nearly forty years ago when I left undergraduate school. I bring more life experience and artistic experience to bear on those issues, but the core issues are still the same. Where I live and what I do for a living has never had any immediate impact on my work as an artist. If I hadn’t taught, I think my work would have still taken a similar path.



Paul Weiner:
As an artist who has been trained in smaller art markets like Oklahoma City and Moscow, Idaho, how do you feel about the commercial art system that clusters around major cities like New York and Los Angeles?

Stephen Mauldin:
In the digital age, it seems a little silly since most things can be done anywhere now due to the internet. However, not many people are going to buy a large, expensive painting over the internet, sight unseen, so galleries are still necessary. The key issue, though, is the “critical mass” of collectors necessary to sustain a commercial art system. That’s what New York and L.A. have that other cities don’t. That allows them to create the gallery infrastructure that draws collectors from elsewhere, as well. That’s one of the biggest complaints here in Portland, Oregon where I live. We’re known as a creative magnet and there are thousands of working artists here with more arriving every day, but there are nowhere near enough collectors to support them all (not even including the collectors who occasionally travel here to buy art). It’s a frequent complaint in Seattle, as well.

The downside of the system is that it lets a handful of people define what is the “best” art of any generation and limits the variety of art being seen by the public. There’s art being produced every day all over this country that’s as good as anything made in New York or L.A., but few people see it because of this system.






Paul Weiner:
You mentioned the rise of the internet as having an impact on art collection. Since many patrons are unwilling to buy expensive paintings online, do you feel that the value of contemporary art is diminished when it is sold on a store like Etsy?

Stephen Mauldin:
Not necessarily. What I was suggesting is that I doubt many people are going to drop several thousand, or tens of thousands, of dollars on a piece of art they’ve only seen online. Much of what any piece of art offers is too subtle to be seen online. If the piece can be sold for a few hundred dollars, people are more likely to take a chance. On the other hand, I think serious collectors prefer to see the art “in the flesh,” as it were, since they are more discriminating by and large. That said, much of what is on sites like Etsy is what I would call “wall décor,” not to be mistaken for Art. As my basic design students learn, Art has three essential elements: subject, form, and content. Subject is what the art depicts; form is how it is organized; and content is what it communicates. Wall décor usually has the first two elements, but is often thin on or completely lacking the third. Also, whereas collectors are usually most interested in content, people who buy wall décor are usually most concerned about whether it will match the couch. There may very well be some excellent art on Etsy’s site, but I doubt if many serious collectors rely on Etsy or similar sites to add to their collections. Frankly, I wouldn’t expect anyone to buy work off of my site without seeing it first.




Paul Weiner:
Could you explain your concept for your String Theory series?

Stephen Mauldin:
The String Theory series didn’t begin with a concept, per se. I experiment with paint frequently. Robert Henri noted in his book The Art Spirit that mastering a medium does not come from being taught what he calls “stock phrases.” He suggests there, quite accurately I think, that mastering a medium comes from thoroughly understanding the properties of that medium. To that end, I am constantly playing with paint in order to more fully understand what it can and cannot do.

So, one day, while paying with paint, I taped an ultra-fine straight pin to the end of a palette knife, dipped it into some paint, cocked the palette knife back, and slung a very small quantity of paint onto a piece of paper. The resulting mark was absolutely electric, playing out into lines smaller than a human hair and crisper than one could ever create with a brush. It immediately struck me as the perfect visual signifier for the “strings” of string theory, electric little knots of energy. With the paintings in the String Theory series, I took that idea and married it to those issues I mentioned earlier. The face is actually derived from a mannequin head I bought while in graduate school, which has come and gone in my work ever since and is used to signify some sort of “higher intelligence” in the universe. What I’m trying to suggest is a universe teeming with intelligence on multiple levels. By the way, a palette knife breaks in half after about two hours of slinging paint like this, so I had to devise an alternate tool.



Paul Weiner:
Tell us about this alternate tool you’ve developed!

Stephen Mauldin:
I wish I could tell you that it’s something amazingly complicated that took natural engineering skills to develop, but I simply stuck the pin in the end of a Colour Shaper. They’re like paint brushes with some form of rubber shaped like bristles instead of having actual bristles. I had bought a bunch of them years ago but found that I didn’t like them. They had been laying around the studio for years, so when I was looking for a solution to the failing palette knife problem, they were there, and they worked. They wear out, too, but it takes months instead of hours. I prefer one particular type that’s hard to find, so I just bought about $150 dollars worth of them in case I can’t find them in the future or they’re discontinued.





Paul Weiner:
How would you define your style of art?

Stephen Mauldin:
I don’t know that I really have a “style” since my work changes rather significantly every few years. The issues stay the same, but the way the paint is applied changes dramatically. In the beginning, I used brushes and applied paint directly to canvas or panel, as most painters do. Then I started shaping the canvas over objects and applying paint with an airbrush to simulate the play of light and shadow on those objects, stretching the canvas after the fact. That was continued on rip-stock nylon for a while to get finer detail. After that, I made all the marks for paintings on glass first, and then collaged them into “paint assemblages” of sorts. Next, I used a tool designed for putting stripes on picture frame molding to draw directly with paint and produce pieces infused with a dense web of spirals and arcs to suggest the patterns of sub-atomic particles. That was followed by extruding thickened paint into actual webs that were about a half-inch deep. Later, I stamped the image onto canvas using rubber stamps that I carved myself. Now I sling paint with pins.

Actually, it dawned on me recently that I have always been led by the paint. As I have played with it over the years, it has continually revealed new things to me and suggested new technical directions. Ben Shahn said, “The painter who stands before an empty canvas must think in terms of paint.” Over the years, as I’ve addressed the issues I do, that’s what I’ve done – thought in terms of paint and how I can make it convey more clearly what I’ve been trying to communicate.shadow1








Paul Weiner:
Is there a certain type of paint you prefer? Also, would you consider your revelations about paint and its application to be equally important to the actual products you create?

Stephen Mauldin:
I’ve used NovaColor acrylics for thirty years. I started using them when I worked with an airbrush because they’re slightly less viscous than tube colors and require less thinning to be sprayed. It’s a high quality, heavily pigmented artist’s color and is much less expensive than any other brand I’ve found, so I’ve stuck with it. They’re great people to deal with, too. Producing the electric little mark that I’m so infatuated with now is all about viscosity. If the paint’s too thick or too thin, all you get is little dots or a big mess. Curiously, only the warm colors with NovaColor will do it. I think it’s the properties of the pigments, so I’ve taken to modifying the cool colors with Utrecht’s extra stiff colors. I tried gel mediums and everything else I could think of with no success until I stumbled upon the Utrecht solution almost by chance.

I don’t consider my revelations about paint to be of much importance since they would be of little use to anyone else. They’re a reflection of my temperament and have resulted in painting methods that are extremely time consuming and mind-numbingly tedious by most people’s standards. Actually, the importance, in my mind, lies not in the products or objects I create, but in the content contained therein. The paint and the objects are only means to an end.

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