The Hot Hands of Summer: Ric McCauley

(Detail from “Hot Hands of Summer”)

The Hot Hands of Summer: New Paintings by Ric McCauley

Opening Reception July 16, 2016
Gallery 209, Cape Charles, VA

(Detail from “Forgotten Floods”)

Gallery 209 welcomes new work by painter Ric McCauley following his near sell-out show of May 2015. Whales and sea life make return appearances, as does the artist’s sly, understated commentary on the way the natural world is affected by technology. After Hurricane Sandy, surely no one in Cape Charles can underestimate the impact Mother Nature has on humans. McCauley looks at such things from the animal world’s point of view, as in his acrylic painting “Forgotten Floods”, in which an elephant makes an escape by boat. Other paintings question mankind’s impact on nature, such as “Autocorrect”, which depicts a whale turning into metal to ward off human hunters.

(“Ground Control to Major Tom”)

image

Mostly McCauley’ work is full of joy and humor. His is a world where dogs are as likely to be found on telephone lines as birds are… and usually those dogs are Labrador retrievers. McCauley and his partner have owned two such dogs. Their current pet, Ellie, models for several of these paintings. Most notably is “Ground Control to Major Tom”, which reworks recently departed musician David Bowie’s 1969 song “Space Oddity” into a lament between a satellite and a blond canine wearing a cone collar that doubles as a radio dish. When Ellie is not modeling, she can be found rolling in the castoff paint covering her master’s drop cloth. McCauley employs a splatter and scrubbing technique for many of his backgrounds and textures, and sometimes the price for such work is a yellow Lab with a blue tail.

Miss Ellie supervises her master’s work

In Cape Charles, you just might spot McCauley painting in his back yard. He typically starts a canvas by first layering broad washes of acrylic color down on canvases that sometimes reach 4 feet by 6 feet. He scrubs at the surface or sprays it with water to remove excess paint and achieve texture, a process that allows random images to emerge and helps him intuit the detail work that comes next as he brings each painting to its final resolution.

(Detail from “Operation Migration”)

McCauley’s current show consists of fourteen large-scale new works as well as a small suite of miniature paintings. His whales, jellyfish and other sea life ground him as a thoroughly Eastern Shore artist, and his large-scale painting “Midnight on Mason” is an homage to the home he’s found here.

 

“Midnight on Mason” (Detail from a larger canvas)

McCauley grew up in rural West Virginia, and the traces of his early country living–exploring wildlife, growing his own food in the family garden–can be found in the foxes and plants that sneak into his other paintings. He graduated from St. Mary’s College of Maryland with a BA in Fine Arts in 1993. There he studied printmaking, photography, and oil and acrylic painting. Recently McCauley recently won Best in Show at the St. Mary’s alumni exhibition (Boyden Gallery, 2014). His work is part of several private collections and his commercial clients include the Cape Charles Hotel. Recently his art was featured in Sports Business Daily’s write-up on Billy Casper Golf, whose Reston, VA, corporate office features one of McCauley’s buffalo paintings.

To contact the Artist: RicMcCauley [at] yahoo.com

or contact Gallery 209 (ask for Sandy)
209 Mason Ave, Cape Charles, VA 23310
 (757) 331-2433

gallery209@gmail.com

Advertisement

Visual Fables for the 21st Century

Fire at the Surface: Imagery and Process in the Paintings of Ric McCauley
Gallery 209, Cape Charles, VA

20150523-014536-6336659.jpg
“Fire at the Surface” –Detail, Ric McCauley, 2015

In Ric McCauley’s paintings, you will find whales listening to iPods, elephants riding Ferris wheels, dogs walking on power lines, and richly textured abstract color fields resonating with vibrant energy. A surreal dreaminess permeates McCauley’s work, as well as a deep love of the natural world. McCauley studied painting at St. Mary’s College of Maryland, where he graduated with a BA in Fine Arts in 1993. There he studied printmaking, photography, and oil and acrylic painting. Recently McCauley recently won Best in Show at the St. Mary’s alumni exhibition (Boyden Gallery, 2014), and his work is part of several private collections.

McCauley grew up in West Virginia, swimming in creeks and sewing a garden to provide for his family’s supper table. Early on he learned how to get his hands dirty in the best possible way. He knows that an idea needs to be carefully tended if it’s to grow into a work of art. Now, as a seasonal resident of Cape Charles, sea life has recently entered his visual lexicon. His new body of work ranges from textured color fields (“Fire at the Surface”) to whimsical juxtapositions of nature and technology (“Whale Pod”).

20150523-012843-5323112.jpg

“Whale Pod” — Ric McCauley, 2015

In many ways, Ric McCauley is a process painter. He harnesses the chaos of his raw materials through will, determination, and a sense of play. It’s a delight to watch him work as he blasts tracks from his enormous music library in his Virginia studio or Cape Charles back yard. McCauley starts a canvas by first layering broad washes of acrylic color. Then he scrubs at the surface or sprays it with jets of water to remove excess paint and achieve texture. Rorschach shapes emerge. These serve as a catalyst for the dream-like imagery McCauley teases out of his projects. In “Buffalo Carnival #1”, an enormous beast of the plains carries a roller coaster on its back; in “Kiss the Sky”, a subterranean city hums beneath a melting, volcanic-orange atmosphere.

Interestingly, McCauley’s visual sense is informed by the fact that he is colorblind. He is unable to distinguish between certain shades of red and green, so you won’t typically see these colors side by side in his work. Instead, McCauley explores unusual palettes of blue and yellow, of orange-reds against stark blacks and winter whites.

His influences include Abstract Expressionist Mark Rothko as well as Pop Artist Andy Warhol, whose Interview magazine was a literary and visual staple during McCauley’s formative years. Keen-eyed gallery goers will spot the influence in McCauley’s use of repeated motifs, as well as the black silhouettes that echo Warhol’s stenciled silkscreen shapes. McCauley also cites German artist Anselm Kiefer’s use of unorthodox methods and materials as an additional influence, though McCauley’s imagery tends to be more hopeful than Kiefer’s.

"Buffalo Carnival #1" by Ric McCauley

“Buffalo Carnival #1” by Ric McCauley

 

Is a painting like “Buffalo Carnival #1” reducing wild creatures to mere landscape? Or is it trying to remind us that the world we build our playthings on is actually animate and alive? Ric McCauley isn’t one to wags a finger. Instead, his artwork–with its fanciful shapes and colors, with its strong eye for form and balance–points toward the accord we must reach with the natural world. Deceptively playful, these paintings linger in the imagination with the power of enduring truth: they are new fables for the 21st century.

–Kelly McQuain
May, 2015
Cape Charles, VA

 

20150523-013840-5920436.jpgUPDATE:  Well over half the paintings at McCauley’s May 2015 solo show at Gallery 209 were sold to collectors on the opening weekend. Nearly all the remaining paintings sold shortly thereafter. A show of new work is scheduled for 2016. Those interested in McCauley’s newest creations, or inquiring about a commission, may contact Gallery 209  or the artist directly at:

RicMcCauley [ a t ] yahoo.com
Gallery 209 (ask for Sandy)
209 Mason Ave, Cape Charles, VA 23310
(757) 331-2433

“Jelly Headphones” — Detail, Ric McCauley

 

20150523-013105-5465061.jpg

20150523-014413-6253865.jpg