Heather McGill

Featured Piece
Heather  McGill Heather McGill Faithless Love 2018 Paper pigment beads 40 x 32 Available at David Richard Gallery New York (DavidRichardGallery.com)

Faithless Love
- Paper, pigment, beads , 2018
34.5 x 31.5 in

Light and California:

I was born in Bakersfield, California but grew up working in surf shops along the coast. I learned to fiberglass in my teens and in my thirties learned to use spray equipment to shoot lacquer and urethane paint. Light and California are an inseparable mythology, add optical illusions and surface and you have defined the key interests of my studio practice.

 

Personal lenses + Cultural mirrors:

My work has a lot of handcraft but also uses equal amounts of technology, both of which are buried or embedded into the final outcome. Growing up in California the first art movement that really inspired me were the Finish Fetish artists [Larry Bell, Judy Chicago, Joe Goode], artists who used car and surfboard culture as a lens as well as a mirror. [McGill got her MFA from the San Francisco Art Institute.] Their work is very high craft, but it’s that craft that buffs itself into invisibility. I hope the viewer understands that the crafting of the work is predicated on the artist’s skills and engagement with the process and that it acts as a personal lens as well as a cultural mirror.

 

Customizing:

Politically, I am a feminist. I was the head of a graduate sculpture program for over twenty years [at Michigan’s Cranbury Academy of Art—and an artist-in-residence at Dartmouth College and the Pilchuck Glass School]. My agenda was to teach from a platform of equality and criticality. I think education is extremely important and found it gave value to my life. I became interested in customizing when I moved to Detroit, but found few women present in the field historically or currently. Is the field of customizing closed to women or are we as a gender not interested? It is an intriguing and unanswered question.

 

Working to the edge:

I gravitate to artists that I would define as having idiosyncratic practices. Their work might be associated with a movement or time period, but primarily they work to the edge of it or could be considered fringe, even if they find economic success. Artists’ whose work reflects a uniquely personal worldview and is expressed in a formal language that is not commonly seen. 

 

Stencil + spray:

The use of pattern has been a long term and serious investigation for me as an artist. Pattern can be a method to move through a lot of content and experimentation both optically and culturally. In the 1990s I began experimenting with spraying intricate patterns on form, using the taping and stenciling methods used by customizers. I have continued to investigate the use of stencils and sprayed pigments for over twenty years.

 

Decorated:

Decoration is an agreed-upon system to organize and interpret our world. Unfortunately, it is often thought of as synonymous with anti-intellectualism.

But everything is decoration.

 

Referent points:

Most of the shapes in my work are derived from objects that were mass-produced and therefore have a real-world referent. Shapes that conjure in the viewer’s mind a familiarity or an association, but not quite the ability to pinpoint its origin. The shapes appear very “specific,” yet the specifics do not ever settle back onto the existing object. I want that sense of a “driven form” without identification.

 

Warp, weft, spray:

Because I use textiles as the basis for pattern, the grid is inherently present due to the weaving process. I use the grid system of the warp and weft as a system of structure upon which I can hang imagery, by spraying successive layers of pattern.

 

A loaded gun:

Experimenting with color is one of the aspects of making that I never plan. I love to load up the spray gun and see what happens.  Spraying is very different than using a brush. Both are prosthetics, but spraying allows for more immediate results as well as a seamless, mechanized look. I spray layers of colors to achieve the resulting effect. As for colors, well, I don’t have a favorite color.

PRESS

Heather McGill - The Commons
GalleriesNow.net, 12/17/2018


Monday, December 17, 2018
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Heather McGill
Wall Street International Magazine, 12/03/2018


Monday, December 3, 2018
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Press Release - Heather McGill The Common
Saturday, November 10, 2018
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EXHIBITIONS

Heather McGill
Monday, November 26, 2018 - Saturday, December 22, 2018
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Altered States: A Psychedelic Legacy
Friday, December 2, 2016 - Saturday, January 28, 2017
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The Santa Fe Art Project - Part 1 - Curated by David Richard Gallery
Tuesday, September 6, 2016 - Saturday, September 24, 2016
MORE


Heather  McGill Heather McGill Faithless Love 2018 Paper pigment beads 40 x 32 Available at David Richard Gallery New York (DavidRichardGallery.com) Faithless Love
Paper, pigment, beads   2018
34.5 x 31.5 in

MCGH12899
Heather  McGill Heather McGill Faithless Love _2 2018 Paper_ pigment_ beads 40 x 32 Available at David Richard Gallery New York (DavidRichardGallery.com) Faithless Love #2
Paper, pigment, beads   2018
34.5 x 31.5 in

MCGH12900
Heather  McGill Heather McGill Fragrant Jewels 2018 Paper plywood pigment beads 24 x 52 Available at David Richard Gallery New York (DavidRichardGallery.com) Fragrant Jewels
Paper, plywood, pigment, beads   2018
23 x 47.5 in

MCGH12902
Heather  McGill Heather McGill Kern River Paper_ plywood_ pigment_ beads 2018 39.5 x 27.25 at David Richard Gallery Kern River
Paper, plywood, pigment, beads   2018
39.5 x 27.25 in
Call For Price
MCGH12994
Heather  McGill Heather McGill Untitled Paper_ plywood_ pigment_ beads 2017 28.75 x 38.5 at David Richard Gallery Untitled
Paper, plywood, pigment, beads   2017
28.75 x 38.5 in
Call For Price
MCGH12995
Heather  McGill Heather McGill Untitled Paper_ pigment_ beads 2018 30 x 20 at David Richard Gallery Untitled
Paper, pigment, beads   2018
30 x 20 in
Call For Price
MCGH12996
Heather  McGill Heather McGill Untitled Paper_ pigment_ beads 2017 30 x 20 at David Richard Gallery Untitled
Paper, pigment, beads   2017
30 x 20 in
Call For Price
MCGH12997
Heather  McGill Heather McGill Untitled Linen_ plywood_ fiberglass_ beads_ pigment 2017 92 x 37 x 3 at David Richard Gallery Untitled
Linen, plywood, fiberglass, beads, pigment   2017
92 x 37 x 3 in
Call For Price
MCGH12998
Heather  McGill Heather McGill Untitled 2018 Paper_ plywood_ pigment_ beads 54.25 x 21.75 at David Richard Gallery Untitled
Paper, plywood, pigment, beads   2018
54.25 x 21.75 in

MCGH13157
Heather  McGill Heather McGill Untitled 2018 Paper_ plywood_ pigment_ beads 54.25 x 21.75 at David Richard Gallery Untitled
Paper, plywood, pigment, beads   2018
54.25 x 21.75 in

MCGH13158
Heather  McGill Heather McGill Untitled Paper_ pigment_ beads_ plywood 2016 22 x 22 at David Richard Gallery Untitled
Paper, pigment, beads, plywood   2016
22 x 22 in
Call For Price
MCGH12992
Heather  McGill Heather McGill Untitled Paper_ pigment_ beads_ plywood 2016 22 x 22 at David Richard Gallery Untitled
Paper, pigment, beads, plywood   2016
22 x 22 in
Call For Price
MCGH12993
Heather  McGill Heather McGill Untitled 2018 Paper plywood pigment beads 54.5 x 22.5 Available at David Richard Gallery New York (DavidRichardGallery.com) Untitled
Paper, plywood, pigment, beads   2018
54.25 x 21.75 in

MCGH12901
Heather  McGill Heather McGill Untitled 2018 Paper_ pigment_ beads 30 x 20 at David Richard Gallery Untitled
Paper, pigment, beads   2018
30 x 20 in

MCGH13103
Heather  McGill Heather McGill Untitled 2018 Paper_ pigment_ beads 30 x 20 at David Richard Gallery Untitled
Paper, pigment, beads   2018
30 x 20 in

MCGH13104

3, 6, 12, 24, 48, 120, Works per page

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