Jumper Maybach’s latest series arrives with a clear ambition: to be experienced as a space, not simply viewed as a set of paintings. At the inaugural Salt Lake Art Show, the artist presented “Radiant Spaces,” a body of work he describes as an immersive exploration of emotional energy, resilience, and healing.
Maybach said he curated the series to create a setting in which intensity and calm could coexist. The paintings, he explained, are shaped by layered texture, movement, and color fields designed to draw viewers inward. Rather than isolating each work as a discrete object, he framed the presentation as a unified environment.
The themes behind the series are consistent with the concerns that have long animated his practice: identity, healing, intuition, trauma, transformation, and self-awareness. Maybach said the work engages difficult realities such as isolation and intolerance, but does so in a way that seeks emotional release rather than moral instruction. That balance between confrontation and restoration sits at the center of “Radiant Spaces.”
The artist also used the conversation to outline where his practice is headed next. He said he is continuing to explore multi-panel concepts and other immersive formats, while increasingly blurring the boundaries between fine art, installation, and luxury design. That expansion suggests a practice that is becoming more architectural in scale and more fluid in medium.
Maybach is no stranger to site-responsive work. Over the past several years, he has produced installations in architecturally significant buildings, including the 1900K building in Washington, D.C. For him, commissions in distinctive settings require close attention to lighting, texture, and atmosphere so that the work feels native to the space rather than imposed upon it.
That sensitivity to environment may help explain why art fairs remain important to his practice, even with their compressed pace and crowded visual field. Maybach said the format offers direct contact with collectors and the chance to let the physical scale of the paintings register in person — something a photograph cannot fully convey.
As the spring art fair season continues, his work points to a broader shift in how painting is being staged and sold: less as a static object, more as part of an experiential encounter.
