I am Chuck McCoy, and I live in Denver, Colorado. Most of my work is abstract, sometimes with representational elements. I follow principles in design and color that are ingrained in me from my years in the graphic design world. I can now use those principles in the fine art world, even though the lines between the graphic and fine art worlds are blurred. I’m hoping to blur them even more.
Some things have become second nature to me. Looking for a certain surface that you can only get from printing, whether it’s from a fine art press, an offset press, or now, digital inkjet. I also look for spontaneous “accidents” in the process. Something that can move in an improvisational way and open up a new way of looking.
Transition to Digital Platform
Looking is what I do as an artist. Observing the results, other’s artwork, and the world around me. All this influences my work. I have to think about how I can create if my vision really does get worse. That’s one reason why I work with a computer. In addition to being a tool I can use well, it might help me see better later on. Some of the visual elements in my work relate to that, but in an oblique way. I know it’s there.
For the last three years, I started working with digital inkjet printing, CNC cutting, and laser engraving on painted and prepared panels. I use my design and computer skills as I would do with a brush or pencil. My canvas has expanded from traditional materials to include digital platforms.
Creating digitally for me is now the same as creating on paper or canvas. I make originals on the computer and then bring them out in the analog world. I’m not reproducing my art. I’m making it original through a computer.
Before this new turn in my work, I produced monotypes. In the past years, I traveled to Santa Fe, New Mexico, worked with a master printer, and produced works on paper that reflected my thoughts and moods at the time. Using a vocabulary of color and composition, I improvised on a theme that came to me at the moment of creation, incubated during the drive through Colorado and New Mexico. Through trial and error, I've found that it's better not to start with a preconceived notion of the final result. Like a jazz musician, I prefer to riff off of standards and be surprised at the results. The moment of revealing the finished piece as the paper runs through the press can be surprising and, if you're lucky, very fulfilling.
And in the past few years, I printed my artwork at the open press in Denver. Again I worked with a master printer. He has recently moved his operation to Sterling, Colorado, and when we get back to what we think is normal, I intend to do more sessions with him.