Lucy Hodgson

Statement.

I work as a sculptor and printmaker who is expressing outrage at the destruction of the natural world. My sculpture installations and work on paper demonstrate the folly of our present way of life. It is not news to the thinking population that overcrowding and materialism as well as the consumption of petroleum and gas are ruining the planet, but I hope that my contribution to the body of work that addresses these issues plays a part in awakening the collective conscience to this disaster. While work that I made earlier in the decade (in 2002 - 2005) celebrated the emotive power of land and seascapes, my more recent sculptures and prints have been focused on the obvious degradations caused by oil and gas consumption. My latest exhibition at the SOHO20 Chelsea Gallery in New York City protested the advance of the technology that produces petroleum products as well as the technology of hydrofractile drilling for gas.

The concept of each piece springs from the materials that I use to construct it. I have probably arrived at this method of working from printmaking, my first art form. Printmaking is a discipline in which the combination of texture and line builds up a low relief surface. The three dimensional aspect is essential to the final image. In sculpture, texture in the form of woven twigs, cane and reeds was an important aspect of the medium. I combined it with anthropomorphically shaped pieces of trees. Then reconstituted building materials like shingles, vinyl roofing and architectural elements entered the store of materials I combined objects formed or deformed by nature - rusted metal and oddly shaped wood - with steel pipes, lumber and detritus to make pieces that satirize the present day infatuation with petroleum production. Recently I have added pieces of cut out steel which I coast with polyesters to produce convincing replicas of oil pools and drips. Some of these constructions appear out of balance. They defy gravity and intuition and are a conscious reflection on the state of civilization. Others comment on the ambiguity of 'framing' whether with old windows, projectors, or image traps like cameras and telescopes. The most recent work addresses the conversion of natural elements into ones that will destroy the world as we know it. While the process of 'refinement' is kept hidden in containers that are 'plain pine boxes', the implication of change is evident in the twisted dying trees that reach towards the sky juxtaposed with industrial related steel pipes and equipment. Other works consist of pure found elements recontextualized in a gallery setting.

My recent prints are directly related to the content of my sculpture. In fact, the plates from which I print move on to become larger three dimensional pieces. The etched metal (aluminum or steel) is printed in small editions. (I keep the editions small because I detest the concept of mass production. Etching produces unique and lovely effects but there is no need to leave a hundred identical images to posterity. Once I have made a limited edition of prints, I cut out what I consider the important parts of the plates and mount them on the wall as low relief sculptures or weld them into standing steel forms in an exhibition, "Long Shots" at the SOHO20 Gallery in New York.

My earlier work done during the 80s and 90s was strongly influenced by the impermanent art of pre-literate cultures. I was captivated by the care and devotion that was obvious in artifacts that were used for only a single ritual and then discarded. These fragile structures were used to convey important histories, concepts, lineages and information. As long as the culture was intact, they held meaning for the people who used them. Steel, bronze, and even stone, while lasting, were not essential to conveying an idea or recording events. Once the culture disappeared, the more ephemeral objects also vanished. Ironically, when it comes to considering those artifacts that were actually made of more permanent materials, we find that the meaning and use of them has often been lost. No one really knows why the sculptures of Easter Island were made, or who erected them. The prehistoric standing stones of the British Isles and France are still subject to much speculation.

At present I use more permanent materials not because I really want my work to last through the ages, but because the modern mind relates to them more easily than it does to the evanescent detritus of the past.

 

Achievements.

2016

"Last Stand"
SOHO20 Gallery
56 Bogart St. Brooklyn, NY

2014

No Man's Land and Beyond
SOHO20Chelsea Gallery
New York, NY

2012

"Sucking It Up and Blowing It Out: The Consequences of Greed"
SOHO20 Chelsea Gallery
New York, NY

2011

Unnatural Disasters
SOHO20 Chelsea Gallery
New York, NY

2010

Installation at Village Green
Summit, NJ

2009

Do These Become You?
SOHO20 Chelsea Gallery
New York, NY

2008

Installation
Cur. Leslie Madigan
Hartsdale NY

2007

Pipe Dreams - Sculpture and Steel Etchings
SOHO 20 Chelsea Gallery
New York, NY

2005

Bounders, Breakers and Swells
SOHO20 Chelsea
New York, NY

2003

Going Tidal
SOHO20 Chelsea
New York, NY
Installation
Museum Shockland
Netherlands
Site Specific Installation
Museum Shockland

2001

Swallowed Hole and Whingled
RI Convergence 2001
Kingstown, RI

1999

Long Shots
SOHO20 Gallery
New York, NY

1998

Solo Exhibition
Chapman Art Center Gallery
Cazenovia College, Cazenovia, NY

1996

Tree Housing: Arboreal Concerns
SOHO20 Gallery
New York, NY

1995

Pointed Reflections
Greene Street Windows
New York, NY

1994

In Another Part of the Forest
Steinman College Center
Lancaster, PA

1993

Fell ed Fall en
SOHO20 Gallery
New York, NY

1992

Standing Remains: Remains Standing
South County Center for the Arts
Kingstown, RI

1991

Roots, Stumps, Trunks and Limbs: A Memory of those That Have Fallen
SOHO20 Gallery
New York, NY

1989

Prehistoric Technologies: The Lyre and the Loom
SOHO20 Gallery
New York, NY

1986

Sentinals and Sanctuaries
SOHO20 Gallery
New York, NY

1984

Solo Exhibition
SOHO20 Gallery
New York, NY

2017

“Currently 80” Sculptors Guild, February 5-24, 2017
Westbeth, NYC, NY F curated by John Yau
“American Twist”, March 11-April 2, 2017
Antenna Gallery, New Orleans, LA
“Currently 80” Sculptors Guild, May 5 - July 16, 2017
Governors Island, NY curated by John Yau
“Nexus, an Outdoor Sculpture Exhibition”,  June 11- October 31, 2017
The Mount, Lenox, MA, curated by Ann Jon

2016

Remix at The Mount, June - Oct., 2016
Lenox MA, cur. Ann Jon
FLUX, outdoor installation, May-Sept, 2016
Marcus Garvey Park, Harlem, NY

2015

"This is Not a Box", Sculptors Guild, Sept 3 - 25, 2015
55 Washington St. Suite 256, Brooklyn NYÂ
"This is Not a Box" Gala, Sculptors Guild, Oct 22nd 6-9PM
Side Show Gallery, 319 Bedford Ave, WilliamsburgÂ
Sculpture Now@The Mount, June 1 - Oct. 27, 2015, Curator: Ann Jon
The Mount, Lenox MA
"Laws of Attraction", Sculptors Guild, May - June 20, 2015, Curator: Richard Tempiero
Governors Island, NYC, NY

2014

"TransFORMations", the Sculptors Guild
Governors Island, NYC, NY

2013

"Contemporary Sculpture at Chesterwood 2013", curator, Glenn Harper
Chesterwood Museum
Stockbridge, MA
"Â Rising Tide"
curator Sarah Schmerler
Governors Island, NY

2012

"Process", curated by Mikaela Sardo LaMarch
Governor's Island
New York, NY
"21st Century Sculpture", curated by Nick Capasso, de Cordova Museum
Housatonic Museum
Bridgeport, CT

2011

Intersections, Sculptors Guild on Governors Island
curator Karin Wilkin
New York, NY
Impromptu
SOHO20 Chelsea Gallery
New York, NY

2010

Encounters, Rocio Aranda Alvaredo and Anne Aptaker curators
Sculptors Guild on Governors Island
Governor's Island, New York
Ninth Sculpture in the Garden Exhibition
Payson Gallery, University of NE, cur. Anne Zill
Westbrook ME
Finding Objects, cur. Troy West
Courthouse Center for Art
Kingstown , RI

2009

Connect Reconnect, cur. MOVIS
Monmouth Community College
New Jersey
Contemporary Sculpture at Chesterwood, 2009, cur Denise Markonish Mass MOCA
Chesterwood Museum
Stockbridge MA
Formative Lines: Working in Drawing and Sculpture
cur: Rachel Liebowitz and Johanna Klienberg of The Drawing Center
Governors Island, NYC
Group Exhibition
Reed Reeves Arboretum, Michael Tcheyan
Summit NJ
CURRENT without
Boscobel, cur. Martee Levi
Garrison NY
CURRENT within
Gellette and Balter Galleries at Garrison Art Center, cur: Grace Knowlton
Garrison NY
8th Annual Garden Invitational
Payson Art Gallery, U. of New England, cur. Anne Zill
Westbrook ME

2008

Relative Environment
26th Annual BWAC Outdoor Sculpture Show, Cur. Ursula Clark, Tyrone Tripoli
Empire Fulton Ferry State Park, Brooklyn, NY
In Site
Sculptors Guild at Governors Island, cur. Jerelyn Hanrahan
New York, NY
7th Annual Garden Invitational
Payson Art Gallery at U. of New England, cur Anne Zill
Westbrook ME
Generations, '08 Invitational
A.I.R. Gallery
New York, NY

2007

Viewing MacDowell: Works by Recent MacDowell Colony Artists, curator: Rachel Garceau
Sharon Arts Center
Peterborough, NH
Translation: Dreams/Nightmares, curator: Joel Levasseur
The Backroads Gallery
Damariscotta ME
6th Annual Sculpture Show curator: Ann Zill
University of New England, Westbrook Campus
Portland, ME
Paths, Real and Imagined, Outdoor Show curator: Nancy Azara
Byrdcliffe, Woodstock Guild
Woodstock, NY
Tuttavio Povero curator: Douglas Ferrari
Shore Institutute of Contemporary Art
Long Branch, NJ

2006

Contemporary Sculpture at Chesterwood
Chesterwood Estate and Museum
Stockbridge MA
2006 Biennial Juried Exhibition
Center for Maine Contemporary Art
Rockport ME
Sculpture, curator: Ann Zill
University of New England
Westbrook, ME
Sculpture Now
Sculpture in the Public Arena
Great Barrington, MA

2005

Sculpture for the Garden
Rockland County Center for the Arts
Nyack, New York
Nine Dragon Heads
Cheung-ju, South Korea Japan Art Forum
Kyoto, Japan
Group Exhibition
Alpan Gallery
Huntington, New York

2004

Sculpture by the River
Norman Rockwell Museum
Stockbridge, MA

2003

Group Exhibition
Friends Academy
Locust Valley, New York
Biennial
Portland Museum of Art
Portland, Maine
The Lilly: Loosely Seen
Birdcliffe Arts Colony
Woodstock, NY
Creative Space, 50yrs From the Printmaking Workshop
Library of Congress
Washington, DC

2002

Contemporary Outdoor Sculpture 2002
Moses Kent Museum
Exeter, New Hampshire
Generations III
A.I.R. Gallery
New York, NY
Ready or Not
SOHO20 Chelsea
New York, NY

2001

Art in Nature
site specific work at The Kingdom Art Center
Liberty, ME
Contemporary Sculpture 2001
Maine Art Gallery
Wiscasset, ME
Sculpture Takes Over
Rockland Center for the Arts
West Nyack, NY
Sculpture
Chewonki Foundation
Wiscasset, ME

2000

Contemporary Sculpture at Chesterwood
Chesterwood
Stockbridge, MA
Contemporary Outdoor Sculpture, 2000
Moses Kent House
Exeter, NH
Generations II: A Survey of Women Artists at the Millennium
A.I.R. Gallery
New York, NY

1999

Count Down
SOHO20 Gallery
New York, NY
End Run
SOHO20 Gallery
New York, NY
Group Exhibition
Courthouse Center for the Arts
Kingstown, RI
Sculptors Guild
Grounds for Sculpture
Hamilton, NJ
20 x 29
Patak Group
Fony. Hungary
Log Show
Maine Coastal Arts
Rockport, ME
Contemporary Outdoor Sculpture
Moses Kent House
Exeter, NH
Twig
Brewery Project, Curator Laura Padock
Los Angeles, CA

AT & T
Oakton, VA

Atlantic Richfield Co., ARCO
Houston, TX

Biblioteque Nationale
Paris, France

Chase Manhattan Bank
New York, NY

Citicorp
New York, NY

Dr. and Mrs. Reyner Banham

Ed Coker and Elaine Galen

Heublin Wines
CT

International Harvester
Denver, CO

Manufacturers' Hanover Trust
New York, NY

Morgan, Lewis and Bockius
New York, NY

Neuberger Museum
Purchase, New York

New York University Print Collection
New York, NY

Seiko Time Corp
New York, NY

2013

Art New England: Contemporary Sculpture at Chesterwood , Sept.-October, 2013
Shirley B. Moskow

2011

Sculpture , March 2011
Corinne Robins

2007

Sculpture, Contemporary Sculpture at Chsterwood 2006 , March 2007
Marty Carlock

2004-05

"M"magazine, New York Art World.com , July, 2005
Lily Faust

Espace , Winter, 2004-05
Tia Blassingame

2003

de Stentor Apeldoornse Courant , July 23, 2003
Wim van der Beek

De Noordoost Polder: Buitenexposititie Schokland I, May 20, 2003
Hent ter beest

Museum Schokland, May 17, 2003
Wim van der Beek

Beelden in de Zomer, Noordostpolder, 2003

2001

Art New England, vol 22 #6, " Art at the Kingdom Falls" , Oct-Nov, 2001
Barbara Sullivan

The Maine Times, August 16, 2001
Donna Gold

1999

Sculptors Guild: Catalog, July 1999
Grounds for Sculpture

1998

Sculpture, December 1998
Marty Carlock

Art Korea: The Monthly Art Magazine, August 8, 1998
Kim Jae Young

Maine Times Weekly, July 16, 1998
Edgar Allen Beem

1993

Maine Sunday Telegram, April 4, 1993
Ken Greenleaf

Narragansett Times, June 1, 1993
Karen Bosquet

1992

Providence Journal Bulletin, May 28, 1992
Gerry Goldstein

1990

Evening Express, June 14, 1990
Bob Niss

1989

Rheinische Post, Monchengladbach, December 7, 1989

1983

Newport Daily News, February 4, 1983

1979

The New York Post, April 29, 1979
Harriet Senie

1978

The Soho Weekly News, May 11, 1978
John Perrault

Arts Magazine, April 1978
Valentine Tatransky

Oberlin College, New York University:
B.A., M.A., Anthropology

Nine Dragon Heads, International Environmental Symposium,
Cheung-ju, South Korea (2005)

MacDowell Colony, Residency
March 26, 2004 to May 14, 2004

Arts Center at Kingdom Falls
Montville, ME (2001)

International Environmental Symposium, "9 Dragon Heads" Chung-jiu
South Korea (1999)

Art Colony, "Under the Garden", Fony
Hungary (1998)

SOHO20 Gallery, NY, NY
Sculptors Guild, NY, NY

Netherlands America Foundation. Partial funding for installation at UNESCO World Heritage Site, Museum Schokland, Netherlands.

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