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About Madeline

Madeline Becker is an artist living and working in Baltimore. Originally from Cincinnati, Madeline moved to Baltimore to study film and painting at the Maryland Institute College of Art. Madeline’s video work uses images to tell narrative, while her paintings seek to destroy image and content. This seeming contradiction between her impulse to add to the plethora of images in the world is a source of frustration. Madeline’s experience includes working as personal assistant to Amy Scott... more

A Troubled Mind

In a universe parallel to this one, two asteroids rotate around each other, locked in a binary gravitational pull. The universe watches the asteroids. They watch because the two asteroids are not ordinary. The asteroids have eyes that can blink, mouths that can talk, ears that can hear, and somewhere deep within, a heart and mind that can think and feel. The universe calls them Carina and Emiko.

Stuck in space, the two share memories, annoy each other, love each other, despise each other, and eventually come to realize they were once the same person during their life on Earth. Doomed to exist in space together, will they be able to resolve their differences, come to terms with their mistakes, and become one again?

11:47 minutes, three-channel HD video installation with surround sound
Released in May 2015

  • A Troubled Mind Video Still

    2014-2015 11:47 minutes, three-channel HD video installation with surround sound
  • A Troubled Mind

    Single channel version of film meant for viewing on computers, TVs, and theaters.
  • Installation Layout

    Three-channel video installation. The characters in the left and right channels speak to each other across the room, while the channel in the middle shows an animation of the universe reacting.
  • PR poster

    2015, relief print with silkscreen type Designed and printed with help of Eli Sobel.
  • Still from film

    Still from Emiko's video channel.
  • Still from film

    Still from Carina's video channel.
  • Still from film

    Still from the projection of the starts (animation).

Vessels of Broken Dreams

The drawings in the “Vessels of Broken Dreams” series are drawn from a deteriorating plaster bust cast for the actress in "A Troubled Mind."

Portals / Flesh

Walls divide people and also provide privacy. In my work, I stitch together walls and fences out of paper, aluminum screen, pantyhose, discarded materials, and fabric. Skin, from an anatomical interest as well as a social one, provides constant inspiration. We all have pores, hair, we all shed old layers, we all age, and our body remembers the days. Skin is the basis upon which so much pain is caused. My work is a way of quantifying grief while searching for hope. Hope comes in the form of light let through a tiny window. Cutting window after window into the paper with a run-down box cutter, then mending the windows with fabric, act as meditative processes that release anger through crude craft. Claudia Rankine writes in Citizen,

“Yes, and the body has memory. The physical carriage hauls more than its weight. The body is the threshold across which each objectionable call passes into consciousness - all the unintimidated, unblinking, and unflappable resilience does not erase the moments lived through, even as we are eternally stupid or everlastingly optimistic, so ready to be inside, among, a part of the games” (28).

Our humanity is inextricably linked to our bodies, our flesh. My work helps me refine questions I have about being human and flawed, rather than worry about finding answers that aren’t there.

  • Cavern

    2016 81 X 99 X 10 inches Light, paper, pigment, fabric, thread, silicone, bubble wrap, crushed red rock from Sedona, and lingerie fragments This is a double sided paper and fabric "wall" that hangs from the ceiling and levitates just above the floor. It stands four to five feet away from the wall so people can walk behind it.
  • Cavern Detail

    2016 81 X 99 X 10 inches Light, paper, pigment, fabric, thread, silicone, bubble wrap, crushed red rock from Sedona, and lingerie fragments
  • Cavern Detail

    2016 81 X 99 X 10 inches Light, paper, pigment, fabric, thread, silicone, bubble wrap, crushed red rock from Sedona, and lingerie fragments View from reverse side.
  • Cavern Detail

    2016 81 X 99 X 10 inches Light, paper, pigment, fabric, thread, silicone, bubble wrap, crushed red rock from Sedona, and lingerie fragments This is a double sided paper and fabric "wall" that hangs from the ceiling and levitates just above the floor. It stands four to five feet away from the wall so people can walk behind it. This is a view from the reverse side.
  • Skin Deep Variation I

    Fall 2014 Make up applicators, make up from daily use, cotton balls, astringent, q-tips, false eyelashes, and clear push pins 24 X 12 inches
  • Skin Deep Variation II

    2014 - 2015 57 X 7 inches Cosmetic makeup applicators, Sand Beige makeup from daily use, needles, thread, tacks, and wire
  • Skin Deep Detail

    2014 - 2015 57 X 7 inches Cosmetic makeup applicators, Sand Beige makeup from daily use, needles, thread, tacks, and wire
  • Hide

    2016 54 X 38 X 10 inches Pantyhose, thread, nails, pencil
  • Hide Detail

    2016 54 X 38 X 10 inches Pantyhose, thread, nails, pencil

Memento Mori

This film collages color and light to form a stained glass image. Drawing inspiration from the Memento Mori and Vanitas paintings of the seventeenth century, the subject is a vase of cut flowers. Images from the Boston Marathon Bombing and paintings from Matisse are fused into the flowers to reference present pain and appreciate past masters. The 16mm film was shot with the Bolex camera using a matte box, hand crank, various hand cut grid mattes, and telephoto lenses. The film was exposed up to ten times at some points. A sewing machine sews to the point of jamming, screeching for relief.

Exit Wounds

The line between reality and illusion is not fixed. The sun goes down and for a few brief moments the magic hour blurs the edges, turning landscape into dreamscape. Reality represented by sunlight and illusion by shadows is no longer true once the sun sets. As darkness approaches, shadows create their own reality.

In my work, I use any medium (video, collage, bricolage, painting, light, etc.) to explore people and objects that contain a confusion of light and dark within them. Texture and layering, which go hand in hand, are ways of building light and dark. Whether the texture is from dust, debris, or pigment, the important outcome is building a surface that catches light in a variety of ways. Layering is a game of hide and seek.

  • Reconstruction

    2014 49 X 55 in. Oil on paper, magazines, cardboard, plaster, and staples
  • Reconstruction Detail

    2014 49 X 55 in. Oil on paper, magazines, cardboard, plaster, and staples
  • Fault Lines

    2015-2016 64 X 60 X 6 inches Oil paint on paper, pigment, magazine cut outs, screen, silicone, monofilament line, dust, debris, matte medium, staples, and wire
  • Fault Lines Detail

    2015-2016 64 X 60 X 6 inches Oil paint on paper, pigment, magazine cut outs, screen, silicone, monofilament line, dust, debris, matte medium, staples, and wire
  • Fault Lines Detail

    2015-2016 64 X 60 X 6 inches Oil paint on paper, pigment, magazine cut outs, screen, silicone, monofilament line, dust, debris, matte medium, staples, and wire
  • Split

    2014 62 in. X 59 in. Oil paint, sweepings from floor, and monofilament line, wood, tissue paper, magazines, and feathers on canvas Hangs on a wooden dowel.
  • Split Detail

    2014 62 in. X 59 in. Oil paint, sweepings from floor, and monofilament line, wood, tissue paper, magazines, and feathers on canvas Hangs on a wooden dowel.
  • Fission

    2013-2014 Oil paint, staples, and paper 40 X 140 inches
  • Fission Detail

    2013-2014 Oil paint, staples, and paper 40 X 140 inches
  • Fission Detail

    2013-2014 Oil paint, staples, and paper 40 X 140 inches

Weaving Ourselves Out

Fences divide people and mark boundaries. The chain link fence, often topped with barbed wire, functions to keep people out and the people or objects that people own inside, safe. In "Link," the fence is rendered useless by suspension and the fragility of material. Braided strips of aluminum are sewn together to weave a crumbling tapestry. Looking out or in through the negative space becomes a thresh hold for dreams. For others, the separation of the fence is just another day.

  • Link

    2016-2017 120 X 95 X 20 inches Light, aluminum, thread, wire, oil paint Free hanging from ceiling. Currently working on this.
  • Link Detail

    2016-2017 120 X 95 X 20 inches Light, aluminum, thread, wire, oil paint
  • Link Detail

    2016-2017 120 X 95 X 20 inches Light, aluminum, thread, wire, oil paint
  • Link Detail

    2016-2017 120 X 95 X 20 inches Light, aluminum, thread, wire, oil paint
  • Bombardment

    2014-2015 62 X 192 X 5 inches Light, paper, thread, pigment, magazines, newspapers, advertisements, thread, plastic, and tracing paper This is a double sided paper "wall" that hangs from the ceiling and levitates from the floor. It can be hung in different variations depending on the space it is in.
  • Bombardment Detail

    2014-2015 62 X 192 X 5 inches Light, paper, thread, pigment, magazines, newspapers, advertisements, thread, plastic, and tracing paper This is a double sided paper "wall" that hangs from the ceiling and levitates from the floor. It can be hung in different variations depending on the space it is in.
  • Bombardment Detail

    2014-2015 62 X 192 X 5 inches Light, paper, thread, pigment, magazines, newspapers, advertisements, thread, plastic, and tracing paper This is a double sided paper "wall" that hangs from the ceiling and levitates from the floor. It can be hung in different variations depending on the space it is in. View from reverse side.
  • Bombardment Detail

    2014-2015 62 X 192 X 5 inches Light, paper, thread, pigment, magazines, newspapers, advertisements, thread, plastic, and tracing paper This is a double sided paper "wall" that hangs from the ceiling and levitates from the floor. It can be hung in different variations depending on the space it is in. View from reverse side.

Madeline's Curated Collection

This artist has not yet created a curated collection.