McCarty uses a wet-on-wet technique, saturating the form with water before applying pigment with a loaded brush to the paper. When the pigment hits the water-laden paper, it creates soft ripples of color and gradations of value, expressing both flaws and perfection, and the dichotomy between uncertainty and focus. The process is extremely fleeting and an image is either created or lost within seconds. Working with watercolor, particularly a wet-on-wet technique is notoriously difficult to control, and it can take weeks to create a work that has the artist’s desired delicate balance of realism and abstraction.
McCarty’s imagery and compositions are derived from personal photographs. She uses these images as specific references to develop a particular pose or composition. The figures or “beings” all seem related, familial - perhaps a human subspecies. They are capable of communicating a feeling or a mood that is universal, yet deeply intimate and personal. Some figure’s express longing, others seem sexy and intriguing, some innocent and unaware of our voyeurism. In these boys and girls we see our emotional selves reflected, and catch a glimpse of the fragility and tenuousness of the human experience.
To Live On by Min Jeong Seo
“The stalks these flowers are already dried up but their blossoms are preserved and kept fresh by the medical infusion bags. The life-span of every living creature is limited.The infusion bags stand for the progress in medicine and the prolongation of human life.They somehow carry an ambivalent message as they refer to both death and life an the same time. Both states are immanent here. To preserve the beauty of the flowers artifically with the help of the infusion bags points out man’s inclination to repress the fact having to die and to postpone death.”
St. Barthelemy, West Indies, for Italian Vogue, 1989. Photo by Patrick Demarchelier.
“The theme of my work is “the physical that permeates into the art piece.” In a foggy landscape, we no longer see what we are usually able to see – the distance to the traffic light, the silhouette of the trees, the slope of the ground. Silhouettes, distance and horizontal sense all become vague. When we perceive this vagueness, the water inside the retina and skin dissolve outwardly toward the infinite space of the body surface. The landscape continues to flow, withholding us from grasping anything solid. By capturing spatial change and the infinite flow of time, I strive to produce art that creates movement between the artwork itself and the viewer’s experience of the artwork.” – Nobuhiro Nakanishi