“As far as being an artist, I identify more with Maine than being a female,” says Amy Stacey Curtis, an installation artist who lives in Lyman. Indeed, Maine has been the setting for her life’s work thus far. Every two years since 1998, Curtis has installed a large-scale exhibition in a different former Maine mill building, each featuring nine unique interactive artworks. Her compelling presentations deal with a different aspect of existing in and interacting with the world: movement, sound, time, matter and so on. Her work resists categorization. As a whole, it is highly intellectual, inspired by mathematics and data, and yet some of her materials—such as the knitted piece “Undoing” in her 2010 show “TIME”—allude to traditionally feminine acts of creation.
Curtis is also the author of “Women, Trauma & Visual Expression” (2005) and is working with Engine, an arts nonprofit in Biddeford, to spark a new grant for Maine artists with her book ”9 Solo Biennials.” It will celebrate the completion of her 18-year-long project this year with “MEMORY,” on view at the Bates Mills Complex in Lewiston beginning Sept. 17. For more about Curtis’ work: www.amystaceycurtis.com
Image: Amy Stacey Curtis, “MEMORY” (detail), ninth of nine solo-biennial exhibitions, Bates Mills Complex, Lewiston.