Veneers of painted flesh mingle on my canvases, blending the borders between figurative and landscape, portrait and abstract. My deepest desire is to create provocative artwork that challenges the foundations of figure painting by continuing to blur the boundaries between digital and traditional work, pushing color, and recontextualizing traditional subject matter.
Luminous Earth Grid, an array of 1,680 energy-efficient fluorescent lamps, swept over an area equal to 8 football fields. Said the artist, “I see the project as a poetic statement on the potential harmony between technology and nature.”
The neoclassical sculpture depicts a scene from the Bible’s Old Testament (Genesis 24:67), where the young Rebekah, overcome by shyness and modesty, covers her face with her veil upon being introduced to her future husband Isaac.
The illusion of an insubstantial veil was so beautifully executed by the Italian sculptor it seems hardly possible that the statue was chiseled from hard rock, leading to it being described by many as ’a melody in marble.’
It is believed that four copies of The Veiled Rebecca was made by Benzoni in the second half of the 19th century. Three are on public display at the Salar Jung Museum (Hyderabad, India), High Museum of Art (Atlanta, Georgia (USA)), and the Berkshire Museum (Pittsfield, Massachusetts (USA)).
Over 15.000 nails are hammered on top of a wooden structure that evokes references to the beds of indian fakirs. Not all nails are facing with the sharp side up, some are turned upside down reflecting the light in a different way and creating this way the appearance of the word trust. The act of turning the nails upside down can be read as a metaphor for changing the perspective towards things that cause pain. In this piece what potentially hurts becomes a supporting structure. Where one trusts it doesn‘t hurt.
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.
“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.”