The Found Figure
What works best for me is to relax into an attitude of following, rather than leading or guiding, and to simply do something manually with encaustic paint and collage that works the whole surface and fills space with movement and color. This requires a leap of faith and a willingness to feel completely lost regarding imagery, yet somatically present and in sync with the medium. At some unexpected moment, the imagery emerges spontaneously from the “play of phenomena.” Once this perception occurs, a more consciously guided control can ensue. Underlying my approach to painting and sculpture is the felt sense of the interconnectedness of everything.
In my figurative sculpture, I find a base to work from, an armature, like a piece of wood or metal or an existing object. Sometimes an image is present in that initial substance, but more frequently, I have no plan beyond the basic support. I apply waxed fabric and encaustic paint over the armature until the image emerges. I also experiment with lightweight concrete, hypertufa, cast in an undeliberate manner, as a base material that provides unforeseen figurative possibilities. I then carve the sculpture and paint it with encaustic.
This “raw” approach resembles Art Brut, which I greatly love and respect, but is rooted in contemplative practice, rather than insanity or naivety. It is also influenced by Tribal Art, the most direct influences for me being Himalayan. However, the basic flow of the natural world with human consciousness informs Tribal Art of all kinds, and I value this primal source. I feel a deep affinity with Outsider Art, although I am far from self-taught. I owe a tremendous debt of gratitude to my teachers. I have to wonder where I would be without them!
CAROL HOY- BIO
Carol Hoy has been involved in making art since childhood. “My early memories around ages four to five are of drawing and being concerned with the line and the picture plane and how a sense of dimensionality happens between the two.” She attended the Dallas Museum School from the ages of 13 to 19 and then attended SMU in Dallas for her BFA in Fine Art. The figurative painter and teacher, Roger Winter, was invaluable to her development for that span of ten years. She earned an MA in Drawing at the University of Iowa in Iowa City and was awarded a Teaching Assistantship there by the distinguished figurative painter, James Lechay. She did post-graduate training in Woodbury, Vermont with the Colorist Abstact Expressionist, James Gahagan, where she served as Teaching Assistant at his school. She was then was awarded two fellowship terms at the Provincetown Fine Arts Work Center, where her mentor was the renowned painter and teacher Dorothy Antoinette (Toni) La Selle. She was profoundly moved by contemplative studies in Dharma Art in Boulder, Colorado under Chogyam Trungpa, Rinpoche. She moved to Albuquerque,New Mexico in 1983 and currently lives and works in Corrales, NM.
She received an award “in recognition of outstanding achievement in painting” from the Peter S. Reed Foundation in New York City. She has taught Drawing, Painting and/or Color and Design at Goddard College, Rhode Island School of Design Summer program in Provincetown, MA, Richland and Cedar Valley Community Colleges in Dallas, TX and at Naropa Institute in Boulder, CO.
Her work has been included in numerous publications, has shown in galleries and museums nationally and internationally and hangs in public and corporate collections including The Capitol Art Foundation in Santa Fe, NM, Mount Sinai Medical Center in New York City, ABC Disney, Center for Holistic Resource Management in Harawe, Zimbabwe and Orion International Technologies in Albuquerque, NM.