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Amidst a small maze of cats, pens,
paints, Xerox cartridges, canvases
and a television, Joan Maf fei paints a
visual image of a recent afternoon
adventure.
Maffei turns on the television to a
popular soap opera, puts her head
down and continues working on her
latest piece of art, “A Trip to the
Dump.”
Although television is vital to her
creativity, Maffei virtually ignores
the viewing screen while she works.
“Television is my inspiration,”
Maffei explains. “I can’t work with
out it.”
As a small girl, when radio was (lie
only source of home entertainment,
she would sit in front of the speaker
and draw pictures visualizing the ra
dio shows site heard.
Today, while working on her
paintings, Maffei listens to the tele
vision. She chooses programs that
she doesn’t need to actually watch in
order to understand what’s going
on.
“I don’t care if they’re soap opera
stories, the Iran-Contra investiga
tions or whatever,” Maffei says, “as
long as there’s a plot that I can listen
to and see unfold.”
Maffei says television helps her
add imagery to her paintings.
“I like to tell the story and have a
ploiline in my pictures,” Maf fei says.
Maffei is a figurative painter who
enjoys working with people and
tilings in her daily life.
“Since I do pictures of people I
know,” Maffei says, “nobody ever
wants me to sell anything.”
To keep everyone happy, Maffei
finds alternate ways to make money
with her paintings.
“I sold the rights of a painting to
St. Martin’s Press and they used it on
the cover of a book,” Maffei says,
“but I got to keep the painting.”
Maffei, a tall, thin, confident
woman, partially credits her parents
for her lifetime interest in painting.
“I was one of those kids who could
draw horses real well,” Maffei says.
“Everyone thought it was real neat,
so I kept on doing it.”
The Los Angeles native says her
parents encouraged homemade arts
and crafts instead of store-bought
toys, so plenty of painting materials
w'ere always lying around the house.
Although her parents helped
spark her interest in art, they
weren’t supportive of art as a profes
sion.
“My parents said they wouldn’t
pay my w'ay through college if I
studied art because it was too frivo
lous for a woman,” Maffei says.
Her parents told her that during
the 1950s, but Maffei says that even
today art is too frivolous for anyone.
While her parents wouldn’t sup
port her if she studied art, they
would support her if she studied ed
ucation. Maffei, in keeping with her
innocent nature, told them she was
studying elementary education. But
she wasn’t. Maffei says they found
out the truth w hen she graduated.
Maffei studied fine arts at the
University of California at Los An
geles, where she received both a
bachelor’s degree and a master’s de
gree. She has been showing and sell
ing her paintings since she grad
uated from college.
“My first painting went for about
$500,” Maffei says, “and that w'as
during my first show in the ’60s.”
After studying and working in
Los Angeles for several years, Maf
fei, her husband and children
moved to Berkeley, Calif, where she
painted whatever she saw that inter-
Joan Maffei at work
Photo by Traotol
ested her and that realistically por
trayed the times.
“I did a series of portraits,” Maf fei
says, “of a soldier, an astronaut, a
Black Panther, a policeman and a
hippie —John Lennon.”
“While I w'as living in Berkeley,”
Maffei says, “Ronald Reagan was
governor and he was tear-gassing ev
erybody every day. The Berkeley
campus was like a battleground, and
then we came here and there were
all these kids with military uniforms
on.”
Maf fei and her husband moved to
College Station in 1970 when her
husband accepted a position as a
professor at Texas A&M.
“We had never heard of Texas
A&M,” Maffei says. “We had never
even been to Texas and had no idea
w'hat we were doing.
“We were in culture shock for at
least a year. The amazing part is
w'e’re still here and I really love it.”
Maffei says her artwork suffered
from the move for nearly a year
w'hile she overcame her culture
shock.
The shock w'as enhanced by the
vast difference in the art worlds of
California and Texas. Maffei was
separated from her friends and
peers, who served as critics to her
work. She also discovered the lack of
galleries in w'hich to exhibit and sell
her work in College Station.
“It was both positive and negative
because I was removed from the
style and fashion of art in Los An
geles,” Maffei says.
“I think that has made my work
stronger,” Maffei says, “but I haven’t
been able to exhibit as much as if I
would have stayed out there.”
She says College Station is a diffi
cult place for artists to thrive.
“I came here and there was no
thing,” Maffei says. “ There wasn’t
even an art program here at A&M.
“It’s hard to stay in the market
place and live in a place that’s this re
moved from it.”
Maffei fortunately has been able
to utilize the galleries at A&M. Her
next solo show will he in the MSC
gallery for three weeks in April
1988.'
In Los Angeles, Maffei primal ily
showed her paintings in only one
gallery — Ceeje — which displayed
w'orks of new, young artists.
“Unlike most places now , I didn't
have to go around looking for a gal
lery,” Maffei says. “ They came and
found me. I had a one-man show the
year I got out of graduate school in a
gallery on La Cienega boulevard,
which was a very big deal.”
Maffei sold her first painting dur
ing her first exhibit at Ceeje to a
woman who liked it particularly be
cause it matched her sofa.
“I thought 1 was much beyond
matching people’s sofas,” Maffei
says with a laugn.
Maffei’s paintings enhance every
day events with visual compression
and intensity. At first glance of the
canvas one might think they were a
collage of images, but a closer look
reveals precise meaning and charac
ter in the placement of everything
on the canvas. If anything were re
moved, the story would not he fully
told.
Each painting goes through seve
ral stages before completion. First,
Maffei develops a concept for the
painting. Next, she takes photos of
the real elements wanted in the
painting. Then she draws sketches,
which she copies and places on the
canvas in their predetermined spots
to finalize the layout. Finally, the oil
goes on the canvas to reflect a partic
ular past event.
Sometimes Maffei furthers
ops the Xerox copies, create
usual formats that display i'
single or multiple images.
Maf fei lias done all her j
paintings in oil because thau
she was taught to use and td
that’s what she likes. She uh
likes the look of oil painion&i
In viewing the art, definitecd
and surrealistic depths enhans|
rich colors of the oil paint.
“I’m really not a three-dira
nal pershn,” Maffei says. Is
have very good depth perceptiu
Maf fei says the Los Angeled
helped her develop a flattened'.!
shortened perspective in her.
work.
“You really can’t seeasfarjn|
of you in Los Angeles as youcaij
re,” Maffei says. “In Texas,the!
are very clear and it’s easy tod
erything.” But she says thoseta
tions helped create her original I
spective.
Her paintings entertain and!
gage the spectator with dreail
views of everyday scenes j|
“Moonllower,” of her pasial
"Portrait of Carlo,” and of Ml
versial issues its in “1 ToldYouSl
Maf f ei is now working on|
she calls her Texas folk art paiil
“A Trip to the Dump.”
“I thought every artist wholr|
Texas hits to do it bluebonnet|l
ing," Maffei says. "It turned*]
he our dog, Ceci, in thebadol|
pick-up it tick and we're going if
dump with all of these blueH
along the side of die road.’’
Looking on her own pain- 1
Maf fei describes them as haul
surrealistic, narrative qualityOT
morously depicts an event ’
bration or something that haJl
ally happened.
H
Research at A&M predicts Soviets will beg
testing U.S. defense against cruise missiles
By Rebecca Jackson
Reporter
Research conducted at the Center for Strategic
Technology at Texas A&M predicts the Soviets
will try an “end run” around the U.S. Star Wars
defense plan, center director Dr. Richard
Thomas said.
The U.S. Strategic Defense Initiative, com
monly known as SDI or Star Wars, is developing
systems to defend against intercontinental ballis
tic missiles flying through space, Thomas said.
ICBMs have been the main offensive threat for
20 years, he said.
But the Soviets are assuming the L'nited States
is developing a space defense. Research predicts
the Soviets are equipping themselves with
manned bombers and cruise missiles that fly
close to the earth.
The cruise missiles are small, unmanned
bombers that carry nuclear warheads and can be
launched from the air or from submarines,
Thomas said.
f his is called an “end run" because the United
Slates has no defense against those bombers and
cruise missiles, he said.
Researchers have designed an air defense ini
tiative to sense bombers and cruise missiles. They
also have found ways to defend against them.
Space-based sensor systems were designed for
the SDI to sense ICBMs, but the research found
the systems also can he used for air defense
against bombers and cruise missiles if the systems
at e made more sensitive, Thomas said.
The United States must also have fighter air
craft equipped with “fire-and-forget” missiles to
shoot down bombers and cruise missiles. These
special missiles can he locked on the target and
launched, Thomas said. The aircraft firing the
missile can immediately turn away and launch
another missile with the pilot knowing the target
will be hit.
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launched cruise missiles and subn
launched cruise missiles the Soviets wi,
to 2015. 1
The study also is est imating how the SC U
would attack the United States. Tlie predfe
riant direction of a Soviet attack wouldbe|
ovei the North Pole, Thomas said. f ]
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The Soviets wouldn’t attack the linitedSy
from all sources, he said. Their basic miliian g
tic is to concentrate all forces in a narrow<
and attack in narrow corriders, he said. H<
The United States has no way of kw Hou;
where the attack corriders would be, he said Tour
t he United States should have a flexible Mm I BTs
that should include fighter aircraft equip' shoul
with “fire-and-forget” missiles, as indicated! trem.
search.
Two f ull-time prof essionals and four grad 1
students are doing the research contracted If
SDI, Thomas said.
When you make paza this good, one just isn't enough."
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