Maud Goldberg: feel see remember find

Many Mediums of Expression

I am an Artist Designer and work in abstract minimalism because I love the flexibility it gives to meaning. My work are studies of edgy equilibrium in form, colour, and texture telling a story with simplicity and poetics about our everyday.

My background is in conceptual Art and Design. The work I produce is site and experience specific. I have close contact with our urban and natural environment and find details in there that relate to everyday life. 
I look for contrasts and overlaps in my research and work to explore links and make sense of things. I find it brings me some clarity and simplicity in terms of the complexity of our world and self within. 

I also just simply love the energy and dynamics of contrasts in visual endeavors. It is a massive sensory artifice for me and it is my reason to live. The content of my work is mostly abstract because it allows me to leave you space to weave your own experience and me to keep some privacy.

The content of my work is mostly abstract because it allows me to leave you space to weave your own experience and me to keep some privacy.


Drawing came first.  When I was a child I drew instead of doing schoolwork.  It was handy, one pen or pencil and paper.  It was easy to get out and easy to hide.  It was a basic space to be and let out.  It’s the same today. It is minimal and simple and it is affordable and calls for a lot of synthesis to get a world of forms and sentiments and colours and textures down to a few lines and dots on paper.

MRI Drawing

I use drawing as the simplest mean to investigate the primary concerns that inform my work in Art and in Design.  For me it is a primitive medium that fits my need to forbid myself any extras.  Drawing was perhaps the first means of conscious expressive artistic endeavour for me, well that and a need to interact with objects, particularly furniture, constructing spatial arrangements, from a very early age.  

There has always been something about peeling the layers off and drawing out the essence of Being by exploring the dialogues between the body, the mind, a space and objects and materials; using different means of research and playful experiment.  

Drawing for me is the most basic concentrated outcome of all those years of experimental practice.  It is a means to share outwardly what is happening inwardly in a way that is broadly accessible and leaves space for others to construct their own meaning, weave their own story from it.  A means to offer the potential of bare minimums to all as a way to explore the most complicated aspects of whatever it may be I am digging in and out of.

Land Human Geometry

A Giclée print made from an original painting. Part of a series of deconstructed studies reassembled in collage. Paring back original elements to alter perspective through bold and minimal geometry and colour.
Available on Etsy


Sculpting begun at the same time but in the form of object arrangements; today called installation art or interior design depending upon which world you fall in.  I could play with larger form and living form without it being visible; it just looked like I moved stuff around my bedroom but to me it was much more.  Making a space between the bars of a chair or adding a velvet red pouch as a drop of a colour accent on my cork board playing with room dynamics by moving my desk diagonally and creating spaces with meaning by moving and installing form colour texture and purpose and aim.

Telling a story of life in time with objects and relative to the structure of a space if space is there to be had.  Finding place to be. That’s what it’s always been about. 

I am a conceptual and architectural sculptor.  I use found materials and spaces, mostly run down, abandoned, pre-used and industrial mixed with bright new elements like bitumen, wool, cloth and paint.  There is poetics in the assembly of materials contrasting in form and meaning, movement to express the flux of life and the potential for a better living by changing experiences with the banal and mundane of our environments.  

There is a defined respect and near reverence towards the often-overlooked everyday.  A respect for accidental happenings throughout the making process and a search for an equilibrium on the verge of collapse between the considered and the automatic instinctive approach.  

There is an energy in my work that exposes my intimate affair with the form and meaning of materials and spaces within which they exist, in the gathering of elements assembled to expose overlaps and brake boundaries in the experience created from a very carefully and sensitively considered approach to content and form. 

Plinth Foam Strap


Photography is more recent; it begun at university when I was studying art.  I used photography to document sculptural work.  Then I was asked which was the work, the sculptural stuff or photos of it. I also totally fell in love with the work of Richard Wentworth the sculptural side and the archival side of impromptu mundane stuff and the overlaps and boundaries that those engendered.

Geometry Light Found

I use photography as a documentative tool and medium in my design and sculpture practice. I first began to use photography to document my work as a sculptor. It was then pointed out by my mentor that documenting the work was actually becoming work in itself and that perhaps it had a place of its own.  I would create architectural sculptures and installations which would become resources for other work including surface design.  There is a cycle of repurposing a huge archive of material in my work that is also part of the process and concept at the base of my design practice.  

There is the constant idea of being rooted and uprooting, exposing and making links, like mind-mapping the world/environment and its nitty gritty elements but keeping the form abstract to give the viewer freedom of experience.

Today it is exactly that, it is both research and work in itself.  It catches what I see.  That moment of focus captures the stuff that I need at the time.  It stains the mind and body with the food it needs.  Time goes by, stuff matures gets ditched filtered etc. and what needs to come out does in whatever medium, maybe photography if what was caught was exactly IT or maybe in drawing, sculpting or a ceramics or textile project.

How is my imagination captured by art?

That is the toughest question. I am not sure I imagine anything. I think it’s rather like I feel I see I remember I find and there’s a pot to mix it all in and pull out the core in its simplest form to just try and find a way of understanding – dealing – placing life in its time to give space to now and hopefully have a tomorrow.

Influences on my art

Well as mentioned earlier Richard Wentworth definitely was an influence and so was the Arte Povera group and Modernists with special affinities for Eva Hesse, Franz Kline, Pierre Soulage… but the earliest influence came from home.  I grew up with adults mostly.  There were artists and writers.  My grandmother was a textile artist who created the most peaceful and brutal tapestries on white sheet with different kinds of white threads and stitches.  My grandfather was a painter, abstract ridiculously talkative brutal and gentle, his work was/is.  They lived upstairs at l’Ecole des Beaux Arts de Lille because grand-pa Janick was the director.

The smells of the arts studios and the light and space just got into my blood.

Monsieur Caca (Mr Poo) quite scatologically focused man sculptor with the most infectious happiness and freedom, Nanou Viallard a sculptor whose work I never really appreciated but whose regard on life truly affected me and whose love I keep dear; Robert Lagarde whose exquisite circular drawings I remember and love of wine jazz and dance I have kept.

I feel cheap not to enunciate the list of those people who gave me life, freedom, and joy in a life at a time that was really quite horrendously difficult in other ways.  You know though they talked, they argued, we played, and all of it was and is about life – about the mundane and how badly gorgeous that is in its horror and its peace.

Pillow Wire Wall Hooked

Within Contemporary Art

I let the images talk because they are who I am and brutal enough to state where it or I fit and what it or I am about.

Building a collective of connected people across cultures and lands through Art and Design is at the core of my work.

The work is timeless, art or design, unlike me evidently, in that it questions and observes fundamental states of being and purpose.

Process: conception to conclusion

I have lived strange – very strange – things. I am scarred and I find stuff around me that gets glued to my insides for survival.  Time moves and the body and mind can only contain so much so the stuff that got in and leaves a stain is the stuff that marks and makes the work.  It’s a lot of looking a lot of seeing thinking feeling, finding links observing links questioning links trying to cross and appreciate boundaries and overlaps then there’s need for synthesis to simplify and breathe so the stuff gets let out in condensed minimal form and full content.

MAUDGOLDBERG DESIGN STUDIO is a creative platform where Maud uses a range of materials and processes to explore the maximal impact of abstract minimalism in challenging the ways we perceive and navigate ourselves and our environment across a spectrum of mundane experiences. She establishes peaceful simplicity and poetic play in our complex chaotic world by merging analogue with digital and conceptual with decorative, her work explores overlaps and pushes boundaries across grounds.

Maud currently works as a freelance designer licensing and selling designs and art prints to fund and develop a selective line of products that sum up her attachment to finding hope in the most difficult states of being. 

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