Danica Maier is an Associate Professor in Fine Art and has taught across all levels in Fine Art from undergraduate to supervising research students. Currently Danica coordinates the Summer Lodge, a unique model for practice-based research and research led teaching as part of the Fine Art department at Nottingham Trent University. The Lodges each have a distinct and complementary identity, aimed at creating different kinds of energy and focus for stimulating research practice.
Danica Maier is a practicing artist and academic who is invited to participate in national and international exhibitions, international research residencies and partnership projects. Danica has previously taught on the Postgraduate Textile course at Goldsmiths College, the Undergraduate Painting Department at the University of Delaware as well as being invited guest speaker at many other international institutes. In past years she was workshop co-ordinator at London Printworks Trust and studio assistant at the Fabric Workshop and Museum in Philadelphia.
Exploring dualities of material and site, Danica Maier's work uses site-specific installations and events to explore ideas of expectations of site, traditional values, 'women's work' and labour. Danica is interested in manipulating a location’s expected function and pushing beyond the original intentions such as; home / gallery, village notice board / exhibition venue, model space / public artwork site, domestic /institutional space. Using the site/object as a starting point - materials and events work towards a collapse; of historical time through nostalgia for a past that never existed; contradictions of usual everyday events; or subtle interventions in unexpected locations.
Danica's work also follows the domestic object and drawing, which involves a particular interest in stitch, textiles, and the decorative. Using subtle slippages and moments of detail to transgress propriety. The inquiry questions both the role of the object as well as the women’s role in relation to labour. Using understated visual cues in text that appears to be stitched line, veiled details and suggestive objects; the viewer is required to spend time with the work to encounter these moments of hidden depth found within the materiality. Once seen these subtle transgressions can compel the viewer to think twice about the expected norm they see around them every day.
Danica Maier is co-lead with Andrew Bracey (University of Lincoln) on a long-term research project Bummock: new artistic responses to unseen parts of the archive. (www.bummock.org) Through artists’ residencies this project seeks to investigate, research and use unseen parts of archives as catalysts for the creation of new artworks, while exploring the development of a ‘control rummage’ methodology for researching the unseen/unknown. Bummock has recently completed a pilot project (ACE funded) working within The Lace Archive held at NTU with an exhibition and symposium held at Backlit Gallery (Jan/Feb 2018). In October 2017 the project started a three-year artists residency (ACE and artsNK funded) within the Tennyson Research Centre.
Maier is part of project the Returns project with Andrew Brown (NTU), Joanne Lee (SHU) and Christine Stevens (The Clay Studio at Primary). It is an established collective of artists who have sustained a dialogue across the last 3 years. Currently, Returns have yearlong ACE funding for a ‘return’ to Stoke-on-Trent focusing on the site of the former Spode ceramics factory within the post-industrial context of Stoke-on-Trent. The previous engagement with this site as the Returns artists’ group has opened up aesthetic, historical, political and environmental aspects, which they will now take time to explore further in conjunction with local groups and communities. The group is interested in the problems and possible futures of post-industrial cities and their communities, and in the role of making and craft skills therein. Returns formed out of and links back to the international partnership project Topographies of the Obsolete. http://topographies.khib.no/
Maier is director for The Broadcaster; an exhibition venue consisting of two permanent notice boards located outside converted Chapels in villages in rural Lincolnshire.
She is also lead on the No Telos research project which seeks to explore the journey of artistic process rather than outcome.
Sponsors and collaborators
Andrew Bracey: University of Lincoln
Dr. Sian Vaughan: Birmingham City University
Joanne Lee: Sheffield Hallam University
Christine Stevens: The Clay Studio Primary
Andrew Brown: NTU
Lucy Renton: Kingston University
Sarah Bennett: Kingston University
Tennyson Research Centre
Arts Council England
Full list of publications can be found by clicking on 'go to publications' link above.
- Maier, D., 2018 Bummock: The Lace Archive, Backlit Gallery, Nottingham
- Maier, D., 2017 There but Different, Cornerstone Gallery, Hope University, Liverpool
- Maier, D., 2016 Midpointness, group exhibition Airspace Gallery, Stoke-on-Trent
- Maier, D., 2016 In return, Sheffield Institute of Art, Sheffield
- Maier, D., 2016 Grafting Propriety: From Stitch to the Drawn Line, monograph, London, Black Dog Publishing
- Maier, D., 2015 Forsaken Decoration (book chapter), edited by Anne Helen Mydland and Neil Brownsword Topographies of the Obsolete: Site Reflections. Stoke on Trent: Bergen Academy of Art
- Maier, D., 2015 Returns, Bonington Gallery, Nottingham
- Maier, D., 2014 2nd Supper Redux, Terry O’Toole Theater,as part of as part of the Creating a Scene exhibition, held and organized by the National Centre for Craft and Design. In Collaboration with The Postmethodist’s art group
- Maier, D., 2014 Stitch & Peacock, The Collection Museum and Usher Gallery, Lincoln
- Maier, D., 2014 Kaunas Textiles Biennale: Unitext. Edited by Dovilė Stirbytė, published by NGO Kaunas Biennial, Kaunas, Lithuatina
- Maier, D., 2013 Topographies of the Obsolete: Vociferous Void. England: Topographies of the Obsolete Publications. Editors Anne-Helen Mydland and Neil Brownsword Stoke on Trent: Bergen Academy of Art