WCA Boston — Mary Bucci McCoy

— Erik Fosnes Hansen, Tales of Protection

In my work I articulate and manipulate a vocabulary derived from the innate properties of the materials I use. My work is constructed from sheet goods such as birch plywood and mdf (medium density fiberboard), with a variety of acrylic media applied by pouring, rolling, and stencilling as well as brushing. It is informed by observing and reading about natural forms, systems and processes, but is by no means a literal representation of these.

I approach artmaking as a process of intuitive visual research, beginning with an openness to the innate nature of the materials — the way liquid acrylic flows, the forms in the grain of a piece of wood, the intensity of a thick cadmium orange paint — which is the starting point for finding my way to an image. I don’t know where I will end up when I begin a piece, but as I work a path is revealed. Each action, each mark suggests the next step, until it all connects into the new wholeness of a finished piece, which in turn contains the starting point for many more explorations.

		Mary Bucci McCoy Images \| Statement \| Resumé \| Links Click on images below to view enlarged versions.


		Untitled acrylic on mdf 6 x 8" © 2004	Untitled acrylic on mdf 6 x 8" © 2004

		Conflux No. 1 acrylic on mdf, wood 23 x 39 x 1.5" © 2003	Conflux No. 2 acrylic on mdf 30 x 36.75 x 1.5" © 2003
		"For that is the nature of art, it can show both what is and is visible, and what is not and is invisible, along with all that will be but does not yet exist. For art requires imagination and inventiveness, in addition to a skilled hand and a sharp eye, and its task is to find new things hidden in Nature’s forms, grasp them firmly and explain them in such a way that one believes what one previously did not believe existed. And therefore it has as high a status as science, which deals with everything that is and is visible, but art goes beyond science." — Erik Fosnes Hansen, Tales of Protection In my work I articulate and manipulate a vocabulary derived from the innate properties of the materials I use. My work is constructed from sheet goods such as birch plywood and mdf (medium density fiberboard), with a variety of acrylic media applied by pouring, rolling, and stencilling as well as brushing. It is informed by observing and reading about natural forms, systems and processes, but is by no means a literal representation of these. I approach artmaking as a process of intuitive visual research, beginning with an openness to the innate nature of the materials — the way liquid acrylic flows, the forms in the grain of a piece of wood, the intensity of a thick cadmium orange paint — which is the starting point for finding my way to an image. I don’t know where I will end up when I begin a piece, but as I work a path is revealed. Each action, each mark suggests the next step, until it all connects into the new wholeness of a finished piece, which in turn contains the starting point for many more explorations.
		INVITATIONAL EXHIBITIONS SOLO 2004 Winfisky Gallery, Salem State College, Salem, MA — Mary Bucci McCoy: Fluid Geometries (upcoming 9/04) 1994 Dean’s Gallery, MIT Sloan School of Management, Cambridge, MA — Mary Bucci McCoy: New Landscapes GROUP 2003 OH+T Gallery, Boston, MA — New Year/New Work: Thaddeus Beal, Mary Bucci McCoy, John Obuck, Carolanna Parlato, and Marilu Swett 1998 Piper Gallery, Cary Memorial Library, Lexington, MA — New Works: Mary Bucci McCoy, Cindy Jaquith, and Ei Turchinetz 1994 Dean’s Gallery, MIT Sloan School of Management, Cambridge, MA — In Retrospect: Four Perspectives JURIED EXHIBITIONS 2003 Slater Concourse Gallery, Aidekman Art Center, Tufts University, Medford, MA — Running Hot and Steady 2002 Barrett Art Center, Poughkeepsie, NY — New Directions '02 Essex Art Center, Lawrence, MA — 9th Annual Juried Show Kingston Gallery, Boston, MA — New Art ‘02 2001 Barrett Art Center, Poughkeepsie, NY — New Directions '01 Tufts University Gallery, Aidekman Arts Center, Medford, MA — Alumni/ae Juried Exhibition New American Paintings exhibition-in-print, Northeast Edition Feb/March, juried by Jessica Morgan, chief curator at the Institute of Contemporary Art, Boston, MA 2000 South Shore Art Center, Cohasset, MA—Works on Paper Kingston Gallery, Boston, MA — New Art Y2K Brickbottom Gallery, Somerville, MA — ENtitled/UNtitled 1999 Brickbottom Gallery, Somerville, MA — ENtitled/UNtitled The Discovery Museum, Bridgeport, CT — Small Works: Big Ideas 1998 South Shore Art Center, Cohasset, MA — All New England Color Show: Multi-hue, Multi-faceted, Multi-media Rothschild Gallery, Radcliffe Institute for Advanced Study, Cambridge, MA — Sanctuary 1997 Cyclorama, Boston Center for the Arts, Boston, MA — Journey Rothschild Gallery, Radcliffe Institute for Advanced Study, Cambridge, MA — Sanctuary COLLECTIONS Fidelity Investments, Boston, MA Hull Creative Group, Boston, MA PROFESSIONAL ACTIVITIES Women’s Caucus for Art, Boston Chapter 2000–2004 Webmaster 1999–2000 Liaison with Alliance of Women's Business and Professional Organizations 1998–99 President 1997–98 President-Elect, Acting Treasurer 1996–97 Program Co-Chair, Vice President, Book Group Leader 1994–96 Exhibitions Committee member PUBLICATIONS 2004 "Housatonic Museum of Art, Bridgeport, CT — Interface: Jenny Holzer and Media Art," exhibition review, Art New England, June/July "HallSpace, Boston, MA — Liz Sweibel: Re:Union," exhibition review, Art New England, June/July "Gallery of Contemporary Art, Sacred Heart University, Fairfield, CT — Uncommon Portraits, Uncommon Views," exhibition review, Art New England, June/July "Sitings: The Revolving Museum," article, Art New England, April/May 2003 “Cape Ann Historical Musem, Gloucester, MA — Erma Wheeler: Landscapes Real and Imagined,” exhibition review, Art New England, October/November “Genovese/Sullivan Gallery, Boston, MA — Fran Siegel: New Paintings: Pacific Glow”, exhibition review, Art New England, October/November "Erlich Gallery, Marblehead, MA — George Nick," exhibition review, Art New England, August/September “Barrington Center for the Arts at Gordon College, Wenham, MA — Both Sides of theCut: Six Cape Ann Photographers,” exhibition review, Art New England, June/July “Winfisky Gallery, Salem State College, Salem, MA — Maureen Creegan-Quinquis”, exhibition review, Art New England, June/July “Gallery of Modern Art, Marblehead, MA — Inner Voices”, exhibition review, Art New England, April/May “Schlosberg Alumni Gallery at the Montserrat College of Art, Beverly, MA — Ronnie Wright,” exhibition review, Art New England, April/May 2002 "Montserrat College of Art — Distillation: New Work by Dough Bosch and Hannah Burr," exhibition review, Art New England, December '02/January '03 “University of Massachusetts Amherst — The Culture of Violence,” exhibition review, Art New England, September/October 2001 ”Montserrat College of Art — Beneath the Surface: Frances Barth, Michael Beatty, Debra Weisberg“, exhibition review, Art New England, August/September LECTURES 2004 Slide presentation, Artist Slide Show Series, Redbrick Studios, Beverly, MA 2000 "The Artist as Business," panel discussion, Radcliffe Institute for Advanced Study, Cambridge, MA. 1996 "The Convergence of Vision and Materials," slide lecture, Women’s Caucus for Art, Bunting Institute, Radcliffe College, Cambridge, MA EDUCATION 1985 BFA — School of the Museum of Fine Arts/Tufts University, Boston, MA Received the Alice Pratt Traveling Scholarship. BA, English — Tufts University, Medford, MA 1985–86 Ecole Superieure d’Arts Appliqués, Geneva, Switzerland Additional coursework at the School of the Museum of Fine Arts, Boston; Massachusetts College of Art, Boston; University of Pennsylvania, Philadelphia; Moore College of Art, Philadelphia; and Pennsylvania Academy of Fine Arts, Philadelphia.
		E-mail: mary@buccimccoy.com Web site: www.buccimccoy.com