Meticulous forms of her floral sculptures refer to artist’s interest in Suprematism: “The kinetics are an extension of the natural universe, but in a more calculated way. I spend a lot of time shaping and finishing the wood and thinking of new ways of bending the metal elements. The art process is very internal, very zen, almost like a meditation. I like to think that the energy I put into making a piece is carried though them like a vessel”.
When working on Wire Webs or Sherbet Hydrophytes, Maszkiewicz moulded steel rods and stones into geometrical shapes where the crudity of materials infused objects with raw, refreshing quality. All they had in their defence was the form or texture, encouraging new ways of perception. It is about recognising the value hidden in things humble and inconspicuous.
Inspired by Niki de Saint Phalle’s depiction of mother nature or Gertrude Goldschmidt’s use of space as an intrinsic element of an art piece, Maszkiewicz is on her quest for sculptures that can stay independent. It is art that operates on many levels and regardless of its form or location, leaves room for interpretation that is slightly biased, yet always individual.