February 2014
My Turn
Jerry McCarty
My Turn
Jerry McCarty
photo by Sunshine Photography
I am a former student of drawing instructor James Hendershot at St Johns University located in Collegeville Minnesota. I earned a BA with St Johns and entered a Master of Science program eleven years later at Massachusetts Institute of Technology. I was invited by Dr. Otto Piene, Director of the Center for Advanced Visual Studies at MIT, and achieved a SMVisS degree through the Department of Architecture 1989.
JMcCarty_Sonoran Twist_
Three words come to mind from that period; participatory, interdisciplinary and vertical integration of concepts, ideas and technology where by the investigative manner of how we look, decipher and creatively process,outlines our image making and image getting. Within multiple design disciplines the artistic process offers solutions, comparatives or simply a different way of perceiving how a space is developed and lived in or cultured. Art and Culture are precious and represent our history. The world depends on it for survival.
Advancing my way financially through the early academic years and for several decades in support to other professional paths taken, I have relied on early training as a craftsman in the mechanical disciplines, woodworking, and marble carving. I have worked for mechanical and architectural firms and lectured at the Boston Architectural Center in systems integration. I have taught Art History at the University of Alaska and was a center artist at the Alaska VAC and earlier on as Sculptor in Residence at Drake Marble during bicentennial years 1975-76.
I have always been fascinated with folding light across a 2D surface enough where defined illuminations become shadows or lost in space, juxtaposed or simply used as redundant support to forms that seem to grow out of no where. In Capena, Italy, we used to pass napkins across steaming plates of Lena's pasta and everyone puts down a mark or slash of black.
(click on images to enlarge)
Advancing my way financially through the early academic years and for several decades in support to other professional paths taken, I have relied on early training as a craftsman in the mechanical disciplines, woodworking, and marble carving. I have worked for mechanical and architectural firms and lectured at the Boston Architectural Center in systems integration. I have taught Art History at the University of Alaska and was a center artist at the Alaska VAC and earlier on as Sculptor in Residence at Drake Marble during bicentennial years 1975-76.
I have always been fascinated with folding light across a 2D surface enough where defined illuminations become shadows or lost in space, juxtaposed or simply used as redundant support to forms that seem to grow out of no where. In Capena, Italy, we used to pass napkins across steaming plates of Lena's pasta and everyone puts down a mark or slash of black.
(click on images to enlarge)
This was an abstract composition in the making respective of the other marks and when all said and done it was balanced and the page was full. At different times when 3D materials where not readily available the design table became most important. Over time I have made the prepatory drawings to be inseparable to the sculptural forms. The energy is expressed through the planning, manipulation of the 2D surface and onto the 3D materials.
McCarty Star Cluster Towers
Drawing a dimensional space is different than creating a dimensional space in 2D. I think in terms of a sculptor rolling and bending forms, capturing motion, light, shadow and depth.Somehow working out the scale of how large a 3D piecewill be depends on material choices. I prefer heavy, quick motion backed up with subtle touches but always keeping loose.Planning is assured of one keen aspect every time. It follows a comment years ago by sculptor Al Weinberg regarding a clean base, knowing where you leave off and one's ability to stand back and enjoy the process before reengaging. Bob Elliott in Rome/Capena was insistent that energy, light and color, when approached carefully, can be found in every open space. We know that some strokes on the canvas might have success in failure which can be pleasingly important.
In Alaska I witnessed fractioning of light at hundreds of feet above ground due to wind acting on 36 inch diameter helium filled tubes. For me this was a floating canvas of Otto Piene much like Ted Gardeline’s Northern Light Drop during SKY ART ALASKA.This became an unparalleled developmental period for me knowing that the “participation” of the audience, the viewers, the public all contributed to the gestalt and success of each artists work.
In Alaska I witnessed fractioning of light at hundreds of feet above ground due to wind acting on 36 inch diameter helium filled tubes. For me this was a floating canvas of Otto Piene much like Ted Gardeline’s Northern Light Drop during SKY ART ALASKA.This became an unparalleled developmental period for me knowing that the “participation” of the audience, the viewers, the public all contributed to the gestalt and success of each artists work.
JMcCarty_Yucca Root_
Here in the Sonoran Southwest my work deals with the abstract microcosm of the desert, crystallography, light phenomena and other biological relationships both visual and hidden. I appreciate so many different groups looking at the same, looking at the stars and the magnitude of work by both people and base organics that must survive in our diverse climate. The University of Arizona campus is a favorite place to walk and experience this. A well cultivated and mature array of flora teaches me.
It has always been important in my compositions to relieve a point of interception or in basic terms a “bifurcation” of energy that allows additional substantive massing to occur. This fascination has trailed my studio work for over 30 years. What I have learned is that the obstacle of blockage is not the problem; it is the planned awareness that may be lacking as a requirement to seek open light and space.
It has always been important in my compositions to relieve a point of interception or in basic terms a “bifurcation” of energy that allows additional substantive massing to occur. This fascination has trailed my studio work for over 30 years. What I have learned is that the obstacle of blockage is not the problem; it is the planned awareness that may be lacking as a requirement to seek open light and space.
JMcCarty_Seeding Mesquite_
Earliest thoughts had surrounded the age old wisdom of energy taking the less difficult path as in the saying, “the shortest path to a destination is in a straight line.” Yet we all know that obstacles whether man made or natural occur at every turn. The mechanics of any travel therefore is constantly being tested requiring the path to be altered with a reservoir of energy and strength that we must consciously collect and use. One such elaboration came in 5 wall panels of streaking energy paths describing a positive outcome for a friend’s survival of breast cancer. At the critical point of interception a choice is made. I like to think of the word “resurgence” as a metaphor in dealing with the choices we make.
These works in steel and another in laminated wood are currently being exhibited at the 5th Annual Tucson Sculpture Festival February 1-15 2014. Tucson Art Gallery Stone & Speedway
See more of Jerry McCarty's work at www.jerrymccartyart.com
These works in steel and another in laminated wood are currently being exhibited at the 5th Annual Tucson Sculpture Festival February 1-15 2014. Tucson Art Gallery Stone & Speedway
See more of Jerry McCarty's work at www.jerrymccartyart.com
