Statement

My paintings are of observed and imagined places that call attention to a tradition of craft and beauty that highlight, through their making, practices of slowness and care. My use of decorative patterning and impossible perspectives invites viewers into a conversation about concepts of home and discrepancies between utopia and reality.

The way I make my work is a performance of slowness. Emphasizing a tradition of repetitive hand-making, my work celebrates ordinary activities of daily routine and reflects an intimate, intentional way of experiencing and interacting with the world. Blending still life with landscape, often depicting a unification between the interior and exterior, spectators of my paintings become inhabitants of a world in slower motion.

Helen Molesworth conveys my sentiments in her catalog essay for the Karma Gallery exhibition (Nothing but) Flowers when she writes:

"I persist in arranging [flowers] in vases, and placing them in tableaux. It occurred to me
recently that, when I did this, one of the things I was doing was wordlessly saying, ‘I believe
in today.’ Surely the first step toward a hopeful future, or hope for the future, is to commit
oneself to the day at hand. The flowers in their vases, assembled in a way to draw attention
and spark pleasure, are akin to the making of an altar, a devotional space dedicated to the
everyday. And can it be this simple quotidian act is a form of care? Might the act of arranging
the flowers be a small offering toward the repair of the great violence of the world?"

A sustainable utopia is found in established, well-worn paths. Painting the invisible substance of daily life is like arranging a bouquet — a small, visual reminder of the relationship between the spiritual and familiar earthly rhythms that keep us rooted and connected.

Drawing inspiration from the landscapes, gardens, and vernacular architecture of seaside New England, my compositions often feature the cottage as a site of contemplation, rest, and contact with nature. In a catalog essay about my work, artist, educator, and curator Julie Poitras-Santos writes, “Cottage rooms are often spaces where many things happen together – dining room tables and living room chairs bump up against one another and determine the function of each time of day. Typically modest dwellings with a small footprint, cottages soften the rhythms of daily life. The architecture is designed in accord with the natural world. Only the essential is considered. Eclectic period chairs, ceramics, carpets, and other household objects build up the space of Spaien’s paintings, just as the Arts and Crafts movement speaks of quotidian attentions and care. Her paintings reassert the vitality of the handmade.” I am part of a lineage of artists who think craft and beauty help imagine and build a more relational world.

The field of painting has been my research for the last fifty years. Making a painting is an act of contemplation, construction, and problem-solving; a choreography that is equal parts spiritual, scholarly, and domestic. Each time I make a painting, I am researching how to paint, what a painting is, and how it functions. I believe aesthetic experiences dislodge us from our worries. The creative act is a human act, and a painting is an attempt to communicate something about our experience.