OnLine Gallery
Online Gallery
—1—
richardmcrae.com
Richard McRae
I
would like to welcome you to my first online exhibition. Works included have been executed during the last couple years; most have never been publicly displayed. You will find a range of materials, muses, and themes as I sought to flesh out a number of ideas. It has been said that artists never stray far from the items that provide inspiration. I think you will find that borne out in the following pages. Although I am inspired by many differing motifs and media, I always seem to return to the figurative works: that is the place that I see such wondrous and varied beauty. These pages include not only sculptural pieces, but a number of paintings and drawings, many of which were early inspiration for the later 3D works. I have also paired several presentations of two- and three-dimensional works. These may have thematic, emotional, or whimsical similarities, many of which I never noticed until I began to pair the pieces. This has been a fun exercise for me. I hope you enjoy. The cover torso is my most recent piece. As you can see, it is still in process. I have considered enlarging the piece to life size (currently ½ life size) for the final casting. Likely I will go ahead and cast the current form in plaster or terra cotta, but look toward an enlargement in the future. If you enjoy this exhibition, I encourage you to forward to friends whom you think might have an interest - your support is greatly appreciated. Included at the back of the exhibition is a contact sheet with pricing for available items. I would be happy to make arrangements to deliver works to your home or office. Finally, I would just enjoy your responses to the works. Drop me line – I would love to hear from you! Thanks again for your support; Richard
richard@richardmcrae.com
OnLine Gallery
Artist Statement, Richard W. McRae
M
I am most inspired when taking an abstract shape and breathing life into it through the modeling process. Beginning with a block of stone or lump of clay, my first goal is to shape a pleasing abstract
form. Many times I don’t have an end in mind as the process begins. Then begins the process of refining until the human form emerges! When working with clay, I oftentimes cast a maquette in order to experiment with materials and finishes for the final piece. I am amazed at the differing emotions a piece emits when cast in terra cotta (often warm and earthy), versus the more cool, detached look of marble; or, the more stoic, reserved sense when cast in metal. I think my viewers are most interested in how I utilize the organic lines of the human body, the sense of tension and balance, and the overall abstract shape, to portray the human condition. They are amazed when they see themselves in the final piece!
—3—
y work centers on the human figure. The organic shapes and lines provide a creative framework to display the inherent beauty in each of us. When we peel back layers of social and often religious taboo, we find that each person is a unique and marvelous work of God. To interpret the human form in a way that evokes our wonder, imagination, and pathos, drives me with every new work. It is my sincere desire that these works open windows of insight into our human frailty, or possibly the transcendent quality of humanity that points to purpose and hope in our daily lives. Moreover, as I explore my own sense of line, shape, and texture, may you find a renewed sense of wonder for the human spirit and form.
RichardMcRae.com
B
allerina
—4—
Ultracal/Iron, 13”x 10” x 18”
This piece was inspired by a ballerina that I hired for a series of photographs. She was actually posed in an upright position with ballet costume. However, in order to emphasize her balance and grace, I rotated the figure backward. I had planned to include clothing, but felt like the musculature really added to the finished piece. The final piece is cast in plaster and coated in iron. An acid solution rusted the iron.
OnLine Gallery
Q & A With Richard Richard, tell me about your process:
I see that most of your paintings and sculptures are of nudes. Why are you drawn to these expressions? To me, the nude is as close as we can get to a representation of our essence. This “exposure” is uncomfortable for most people, because we like being hidden, only revealing calculated portions of our feelings, hopes, dreams, etc. The nude represents the inner person, stripped away from fear. It is our uncovered creation. I’m reminded of the biblical description of creation. The created being was not originally “naked,” but nude and fully comfortable in their surroundings and relationships. We weren’t created with clothing. It
was only after a severe break in our relationship with God that humankind desired the covering of clothing. We became ashamed at what lay inside us and clothing was the most obvious answer. Do you see your art continuing in the classical tradition, or do you see some contemporary twist? There are certainly similarities between what I hope to achieve and what I see that the Greeks accomplished in their sculptures. According to Sir Kenneth Clark, one of the most eminent art historians of the 20th century, the Greeks sought to craft the nude art
—5—
My process varies considerably. I am, however, typically drawn to organic shapes, usually a human profile that is intriguing. If I start a piece without a preconceived direction, as I sometimes do with stone, I’ll hammer away until I have an abstract shape or line that I like. From there, I’ll begin to imagine how this line could be transformed into a pose. Then, I’ll simply begin to chisel away, seeking to expose the ultimate pose. Other times I’ll take a life drawing, a magazine layout, or some other fragment that informs the direction I want to go before I start. Then, I experiment with various drawings to nail down the specific pose. Finally, either working from a live model or photographs, I simply move around the sculpture, translating each profile line
into clay. Usually, after a couple times around the sculpture, the 3D piece has taken a near-finished appearance.
RichardMcRae.com
At Rest t Rest
A
—6—
Carrera Marble, 17” x 12” x 8” This piece started with a 200 pound block of marble that has been reduced to 70 pounds over a two-year period. I really liked the model’s shape from the front and rear and was drawn in by the peacefulness of the pose. This sculpture is really a labor of love as I did not use any pneumatic tools, which is standard these days for removing very hard stone. No, I did it by hand! Ugh, never again.
OnLine Gallery
form into their idea of the perfection of humanity. They were portraying what was believed to be the ultimate in God-like beauty. They accomplished this in some of the most beautiful static and dynamic poses ever seen. However, my work differs from theirs on a couple levels. The first, and
in a piece that doesn’t look like an airbrushed model. Secondly, I like to present atypical poses. My hope is that you will need to walk around the piece in order to understand the context, position, feeling, etc. So, I guess, to answer your question, I do want to add my own contemporary twist to what I think is the most beautiful art form ever pursued.
probably most significant, is that I don’t seek to portray the perfect specimen of humanity. My goal is to present the inherent beauty in each of us by modeling real humans. This usually includes some disproportion (who is perfectly proportioned?), flaw, or excess, but I hope it results
Yes, I have utilized an array of materials. One of the driving forces in my exploration is to keep art affordable. Art should be attainable for all. Bronze is not the avenue for this. I can create a piece in terra cotta or plaster for a few hundred dollars for instance. However, the cost to cast the piece in bronze could be several thousand dollars! Therefore I have explored a number of alternative mediums. One that offers considerable flexibility in
—7—
Tell me more about your final process. I see a broad array of mediums and finishes.
final execution is to cast the finished piece in a very hard industrial plaster like hydrocal or ultracal. These plasters are considerably more durable than modeling plaster. Then, I have found a supplier of metal coatings that can be applied and patinated like bronze or other metals. These coatings are weather-resistant and provide a very cost effective alternative to solid metal. As far as I can tell, they should last hundreds of years! I have also done some experimentation with terra cotta. However, this medium has some limitations for the type of work that I do. One of the most important is size restrictions. Kilns are typically made for firing pots and bowls, not life-size sculptures. Clay also limits some of the potential for outstretched arms for instance. However, clay is very malleable and I can quickly work up
RichardMcRae.com
C
aptive
—8—
Limestone, 15” x 8” x 11” I began this piece with no preconceived idea of where I was going. I chiseled away until I had a line that I liked (s-shaped in this case). After I had taken about 30% of the stone away, I began a process that is similiar to looking for shapes in the clouds. Finally, I began to shape the stone with this image in mind. For most of us, we spend a lifetime searching for our place in life – finding our identity or purpose. Throughout this journey, we feel exposed, as if we are being judged and evaluated by others, unrecognized for our true potential. This piece is a call for recognition, to break free and stand up for who you are.
OnLine Gallery
maquettes and/or flesh out ideas. For that, it cannot be beat. Do you see any change of direction in your medium, process, or inspiration in the near future?
Any last thoughts? I guess if art has provided me with any life-lesson, it would be to enjoy the journey; the end will take care of itself. As any
—9—
Funny you should ask. I have been wanting to experiment with digital art. I have a vision for multilayered pieces. The same themes motivate me, but I am looking for alternative means to engage the viewer. My hope is to achieve a visceral reaction – not negative necessarily, but one that grabs you at a deep level. I think that combining layers of imaging, color, and possibly even poetry, may help me to achieve this end. It will be fun. I already have a number ideas (some of which keep me up at night with excitement!), but I’m still a bit limited in my working knowledge of the software that will facilitate such.
performing or visual artist can attest, the vision that is in our head is always better than the art that we make today. However, even if the art I make tomorrow is more technically sound, it likely won’t be any more inspired, and it will also suffer from my limitations on that particular day. So today, I will make the best art possible. What a wonderful world this would be if everyone would just do the best they can today!
RichardMcRae.com
S
ubmission
—10—
Ultracal/Bronze, Stainless Steel, Granite 24” x 17” x 14” The inspiration for this piece came as I contemplated what it means to submit. To me, submission is very precarious. We teeter on the edge of complete submission, while always leaning toward exertion of self-will. If I submit, I feel exposed, vulnerable, and yielded to the mercy of another. The power of this piece is that it forces me to evaluate whether I am willing to surrender to a higher purpose.
OnLine Gallery
—11—
RichardMcRae.com
—12—
N
ude
Oil on Can As I was photograp for “One Bad Apple,” in this quick rest. I re pose. The execution i experimentation with form. The brain has a capacity to recognize the colors are wrong a not clear. Further, we the form in abstracted highlights. I also inc of the pose and anoth piece.
—13—
nvas, 16” x 20” phing the model I caught her eally liked the is based on my h how we interpret an incredible e objects, even when and the outline is e quickly understand d shadows and cluded a quick sketch her experimental
OnLine Gallery
R
ain
Plaster/Copper, 22” x 20” x 18” I have worked the seated torso in about a dozen differing transmutations! There is something appealing about the twist and the compression of the muscles. This piece is copper coated and colored with a powder blue patina.
RichardMcRae.com
Daydreaming
Oil on Canvas, 36" x 20" Dytich
—14—
R
eaching or Falling?
Ultracal/Bronze, 20” x 11” x 10” What you cannot determine about the muse is most intriguing. For many of us, our upward grasp may in fact be an all-out attempt to keep from falling (of failing, as the case may be)!
OnLine Gallery
O
ne Bad Apple
Terra Cotta/Bronze, 11” x 8” x 11” The sculpture came first in this series. I returned once again to the seated pose, but I wanted to show regret in the muse with a true sense of nakedness. Therefore, I chose Eve as the archetype for humanity’s collective shame and regret.
—15—
RichardMcRae.com
—16—
OnLine Gallery
—17—
RichardMcRae.com
—18—
Trisha
Oil on Canvas, 18" x 24"
Ballerina Tying Shoes Oil on Canvas, 16" x 20"
OnLine Gallery
Richard Mcrae 904-382-7857 richard@richardmcrae.com —19—
richardmcrae.com
RichardMcRae.com Ballerina Plaster/Iron, 13" x 18" x 9" $900: includes 36" pedestal
Nude Oil on Canvas, 16" x 20" $150
Censored Plaster/Copper/Granite, 11" x 9"x 8" $500
One Bad Apple Plaster/Bronze, 11"x 8" x 11" $500
Abstract Oil on Canvas, 18" x 24" $200
Second Thoughts (after A. Gottleib Oil on Canvas, 11"x 14" $500
At Rest Carrera, 17" x 12" x 8" $4,000
Rain Plaster/Copper, 22" x 20"x 18" $600
Nude, 1/10 Ultracal/Copper, 21" x 15"x 4.5" $400
—20—
Looking Back, 2/20 Terra Cotta, 19" x 13" x 10" $350
Daydreaming Oil on Canvas, 32" x 20" Dyptich $500
Covered Oil on Canvas, 11"x 14" $200
Faith, 3/10 Terra Cotta, 9" x 9" x 9" $150
Reaching or Falling Plaster/Bronze, 20" x 11" x 10" $900: includes 36" pedestal
Lady in Green Oil on Canvas, 11"x 14" $80
Captive Limestone, 15" x 8" x 11" $800
One Bad Apple Pastel on Paper, 16" x 20" $75
Submission Ultracal/Bronze, Stainless Steel, Granite, 24" x 17" x 14" $1,200
Three Graces Oil on Canvas, 24" x 36" $300
One Bad Apple Oil on Canvas, 11" x 14" $150
Mujer (after D. Velasquez) Oil on Canvas, 11" x 14" $3w00
Tangled Sheets, 1/15 Ultracal/Copper, 25" x 21"x 4.5" $400
Trisha Oil on Canvas, 18" x 24" $400
Ballerina Tying Shoes Oil on Canvas, 16" x 20" $300
richard@richardmcrae.com