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Click to view Installation Photos
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"My artistic process is based on immersion and familiarity with a particular context. I do not have a warehouse of sculptures or a studio of maquettes for placement in any available space. Instead, I experience the general environment and, if identified, the exact spot, for a day or so. Then I ruminate and conceive a sculpture for that space. Therefore, my artistic process almost always involves two site visits: One for exploration and design, the second for installation. The result is a provocative, exciting artistic experience for viewers." For more information: www.macsfarm.org
McConaughy's Statement about his work...... Simple form, beautiful lines and gentle symmetry characterize my sculptures. I want the viewer to have a pleasant and stimulating experience: what my sculpture tells the audience is not obvious or limited to a particular message. The only sense of narrative direction that I impart to the audience comes from the title, which might be simple, humorous or slightly ambiguous.
My artistic process is based on immersion and familiarity with a particular context. I do not have a warehouse of sculptures or a studio of maquettes for placement in any available space. Instead, I experience the general environment and, if identified, the exact spot, for a day or so. Then I ruminate and conceive a sculpture for that space. Therefore, my artistic process almost always involves two site visits: One for exploration and design, the second for installation. The result is a provocative, exciting artistic experience for viewers.
My work as an organic farmer brings me face to face with change over the course of hours of the day and seasons of the year. I see the plants, trees and overall landscape of my small farm change over these time periods. Perhaps because of my experience working with the dynamic landscape, I am drawn to the idea of “ungrounded” sculpture. My works are not likely to sit on a pedestal or a defined surface but rather they are site-integrated. The installation is one of the key steps. Often, the sculpture does not exist in any meaningful sense before installation.
My main body of work incorporates lines, often suspended from one or more points, on (or into) the landscape. I aggregate a mass of lines to allow for a complexity and to maximize visual beauty. These sculptures make a powerful and elegant first impression but also invite contemplation. My secondary focus is environmental art, exemplified by The Pillar Oak (1998), Linear Burn (2003), and Flirting (2003). I am intrigued by the “relationship” thus created between the natural landscape and a human design. I pursue sculpture that is large but light in density. My sculptures interact with the environment, notably light and wind, in quietly dramatic ways.
The materials I use typically derive from my farming. These materials range from the very delicate to the substantial. Twine has been my dominant medium to date. Its inherent qualities are beautiful, especially the color. I also use metal – most often chrome chain – and wood. I have begun to use heavier rope for some of my pieces to assuage concerns of durability. The specific materials, like the design itself, largely depend on the needs of the commission and/or site.
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INSTALLATION IMAGES: PHANTOM HILL
AT THE SCULPTURE RANCH
Photo Credit: Beth Austin, Carlos Austin Photography
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◄ Phantom Hill
