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Artist Statement:
I only weld what I want which
is nice. At least a lot more
fun for me. I make a lousy
visual hack which is why I
don't do commissions much. I
just don't have enough
technical talent to do
commissions. To me commissions
are more like having a job and
defeat my own creative
process. I would have stayed
in school had I wanted a job.
I am extremely fortunate to be
able to do what I do every
day, or at least most days.
Most of my ideas come to me
during meditation or at other
times when my thinking mind is
distracted. It is a pile of
fun making strange stuff that
someone at some point might
want! : ) ...
Further Information
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Artist Exhibitions:
Coming Soon!
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Artist Galleries:
Coming Soon!
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Artist Reviews:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Roy Mackey Biography:
| Biographical information for Roy Mackey can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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50
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| Gender |
Male
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| Status |
Committed
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| Children |
99
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| Religion |
Heathen |
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| Education |
Grade School |
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| Hobbies / Interests |
collecting art and other junk.
Favorite Artistic Medium
Sculpture Steel
Animation
Artistic Book
Assemblage
Bas Relief
Basketry
Beads
Body Art
Book
Calligraphy
Ceramics Handbuilt
Ceramics Wheel
Ceramics Other
Collage
Comic
Computer Animation
Computer Art
Crafts
Digital Art
Drawing Charcoal
Drawing Gouache
Drawing Marker
Drawing Other
Drawing Pen
Drawing Pencil
Embossing
Enameling
Enameling Vitreous
Fiber
Fresco
Furniture
Glass
Glass Blown
Glass Cast
Glass Fused
Glass Stained
Graphic Design
Illustration
Installation Indoor
Installation Outdoor
Jewelry
Kinetic
Leather
Metalsmith
Mixed Media
Mosaic
Neon
Optic
Other
Painting Acrylic
Painting Encaustic
Painting Ink
Painting Oil
Painting Other
Painting Tempera
Paper
Pastel
Pastel Oil
Photography Black and White
Photography Cibachrome
Photography Color
Photography Other
Photography Polaroid
Photography Silver Gelatin
Pottery
Printmaking Etching
Printmaking Giclee
Printmaking Intaglio
Printmaking Linoleum
Printmaking Lithography
Printmaking Monoprint
Printmaking Other
Printmaking Serigraph
Printmaking Woodcut
Printmaking Etching - Open Edition
Printmaking Giclee - Open Edition
Printmaking Intaglio - Open Edition
Printmaking Linoleum - Open Edition
Printmaking Lithography - Open Edition
Printmaking Serigraph - Open Edition
Reproduction
Sculpture Aluminum
Sculpture Bronze
Sculpture Ceramic
Sculpture Glass
Sculpture Mixed
Sculpture Other
Sculpture Steel
Sculpture Stone
Sculpture Wood
Tapestry
Tapestry Weaving
Tapestry Needlepoint
Tatoo Art
Textile
Video
Watercolor
Wearable Art
Woodworking
Woodcut
Other
Favorite Arthistory Movement
Abstract Art - (1910 - )
Abstract Expressionism - (1940 - 1955)
Art Deco - (1920 - 1935)
Art Informel - (1950 - 1960)
Art Nouveau - (1880 - 1910)
Arts and Crafts Movement - (1861 - 1900)
Ash Can School - (1908 - 1918)
Barbizon School - (1830 - 1870)
Baroque - (1600 - 1750)
Bauhaus School - (1919 - 1933)
Bolognese School - (1500 - 1650)
Byzantine - (330 - 1453)
Camden Town Group - (1911 - 1913)
Classicism - (1600 - 1800)
Conceptual Art - (1960 - 1975)
Conceptualism - (1960 - 1975)
Constructivism - (1913 - 1930)
Contemporary Art - (Now)
Contemporary Realism - (1965 - 1975)
Cubism - (1908 - 1920)
Dadaism - (1916 - 1924)
Dutch School - (1600 - 1670)
English Landscape School - (1600 - 1800)
Euston Road School - (1937 - 1939)
Expressionism - (1905 - 1945)
Fauvism - (1898 - 1908)
Flemish School - (1600 - 1800)
Florentine School - (1400 - 1600)
Fluxus - (1962 - 1975)
Gothic - (1100 - 1450)
Heidelberg School - (1870 - 1900)
Hudson River School - (1825 - 1875)
Hyper-Realism - (1965 - 1975)
Impressionism - (1865 - 1885)
Intimisme - (1890 - )
Kinetic Art - (1925 - 1965)
Les Nabis - (1891 - 1899)
Magic Realism - (1920 - 1950)
Mannerism - (1520 - 1600)
Minimalism - (1960 - 1975)
Modernism - (1890 - 1940)
Naive Art - ( - )
Neo-Expressionism - (1970 - 1990)
Neoclassicism - (1750 - 1830)
Neoplasticism - (1920 - 1940)
Op Art - (1950 - 1965)
Orientalism - (1800 - 1900)
Orphism - (1912 - 1914)
Parma School - (1400 - 1550)
Photorealism - (1965 - 1975)
Pictorialism - (1895 - 1910)
Pop Art - (1958 - 1975)
Post-Impressionism - (1885 - 1905)
Post-Modernism - (1975 - )
Postmodernism - (1975 - )
Pre-Raphaelite Brotherhood - (1848 - 1854)
Precisionism - (1920 - 1945)
Purism - (1918 - 1925)
Realism - (1850 - 1880)
Regionalism - (1930 - 1945)
Renaissance - (1400 - 1600)
Rococo - (1700 - 1760)
Romanticism - (1800 - 1850)
School of Paris - (1600 - )
Sienese School - (1200 - 1400)
Social Realism - (1930 - 1945)
Superrealism - (1965 - 1975)
Suprematism - (1913 - 1919)
Surrealism - (1924 - 1955)
Symbolism - (1880 - 1895)
Synchromism - (1918 - 1925)
The Danube School of German Painting - (1500 - 1550)
The Nazarenes - (1809 - )
The School of Paris - (1600 - )
Ukiyo-e - (1600 - 1867)
Umbrian School - (1500 - 1650)
Venetian School - (1450 - 1600)
Vorticism - (1912 - 1915)
Favorite Visual Artist
Favorite Work of Art
Biggest Artistic Inspiration
Had three near death out of body experiences due to severe accidents. |
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| Favorite Artistic Medium |
Sculpture Steel
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| Favorite Arthistory Movement |
Abstract Art - (1910 - )
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| Favorite Visual Artist |
Marta Baricsa
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| Favorite Work of Art |
not provided
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| Biggest Artistic Inspiration |
My inspiration comes to me via meditation which I started doing after my first near death out of body experience do to a severe car accident. My third near death experience led me to pursing my art full time. |
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| Why Did You Become An Artist |
Too lazy to get a job mostly, love being self employed, banged my head lots when I was a kid,never finished school, failed metal shop 10, love playing with fire and things that could explode. |
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| Your Personal Biography |
I originally started doing this type of steel work in 1984. At the time I had been doing a lot of portraits in pencil and though enjoyed it did not feel satisfied with the medium. My desire was to do something large and three dimensional. Back then the majority of my time was spent customizing and painting old and classic cars. I had taught my self to do this and discovered I had a real knack for it. It was not long before my shop was very busy. One day I started to reflect on using small pieces of sheet steel to weld a head. Since I was well versed in welding steel already in the body shop the project came together quite easily. After this first piece I was obsessed even though no one at the time seemed that impressed. Since that time I have not been able to stop.
After getting tired of the auto-body shop I ended up then buying an antique shop. I ran it for five years, welding my sculpture in any spare time I could find. Then in 1990 I hit a deer while riding the 1951 Harley I restored. After almost dying in the hospital I realized this must be a sign. Especially since this was my third near death and out of body experience. It was then I made the decision to do my art full time. After getting back on my feet physically and my Harley back to restored condition I moved to Vancouver Island. There I worked obsessively and endlessly on my art. After seven years there I decided it was time to quit doing art and get a real job. I sold virtually everything I had including all my tools packed my art and moved to Vancouver. Of course three months later just before going totally crazy I realized that I could not quit doing my art.
I moved into my new studio at Vancouver’s ARC, Artist Resource Centre in 1999. Then after living here a year had a chance to manage the building which I grabbed. The first reason was to eat better the second was to try and revitalize this very cool artist building which was sadly falling apart due to bad management and tenants who were not artists. Though it took a lot longer than expected the building now has great energy and vibrant sense of artistic community. It is a remarkable place to live as far as real live/work studios go.
Eventually I moved into a larger unit with my partner Marta Baricsa. We now have the space set up so that it is not only very liveable but very productive as far producing her paintings and my sculpture. Our studio is fifteen hundred square feet, and has sixteen foot ceilings with a loft for bedroom and bathroom. It also has floor to ceiling windows on two walls Though currently still managing the building most of my time is spent welding in my studio or pursuing galleries to represent my work. For me it is the ideal live/work situation.
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