LUCY HODGSON
bio
Lucy Hodgson was born in Damariscotta, Maine, and grew up in New England. She attended Oberlin College and New York University and holds a B.A. in Liberal Studies and an M.A. in Anthropology. For twelve years she worked at The Printmaking Workshop in New York City. She has traveled in Europe, Japan and South Korea. Ms. Hodgson has had 13 one person exhibitions. Over the past twenty years, she has participated in group exhibitions at: Grounds for Sculpture (Hamilton, NJ), Chesterwood (Stockbridge, MA), The University of New England (Portland, ME), Byrdclyffe (Woodstock, NY), The Norman Rockwell Museum (Stockbridge, MA), The Portland Museum Biennial (Portland, ME), The Contemporary Center for Maine Artists (Rockport, ME), The Library of Congress, The Brooklyn Museum, The Shore Institute for Contemporary Arts (Long Branch, NJ), The Convergence in RI, The Japan Arts Center (Kyoto, Japan), Der Zaider Gallery in Amsterdam, Monchengladbach in Germany and with the “Patak” Group in Hungary. Residencies include ones spent in South Korea and Hungary. In 2003 The Netherlands America Foundation provided funding for an exhibition at a World Heritage Site at the Schockland Museum in the Nethrlands and, in 2004, she was a fellow at the MacDowell Colony (Peterborough, NH). Hodgson has been a SOHO20 artist member for many years.
Collections: AT&T, Atlantic Richfield Co., ARCO Houston Office, Dr. and Mrs. Reyner Banham, Bibliothèque Nationale de Paris, Chase Manhattan Bank, Citicorp, Heublin Wines, International Harvester, Library of Congress, Manufacturers’ Hanover Trust, Neuberger Museum, Purchase, New York University Print Collection, Seiko Time Corp.
statement
“My work is an anti-technology statement in the service of environmentalism. The things that I make are primarily conglomerations of organic materials and bits of architectural elements salvaged from demolition sites. The materials are generally biodegradable; my work is intentionally impermanent and its value lies only in the aesthetic merit and the concept that it conveys. What we throw away can say more about us than the things that we spend our time accumulating. The intention, not the monetary worth or the sculpture’s permanence, is what must speak to the viewer and a sculpture must address some issue of human experience. I have done a series of wave like pieces made of discarded wooden shingles to exhibit on a World Heritage site that had been battling the encroaching seas in the Netherlands for centuries. They are pieces that represent the malevolent power of weather and water. Some others define objects of significance in ornate wooden, painted frames as a comment on values that should either be preserved or abandoned. More recently I have used industrial objects and materials in pieces that imply functionality, but don’t really do anything as a comment on the hubris of a culture that is forgetting from whence it comes.” – Lucy Hodgson
work
“Keystone Roundup”, 2014, concrete, steel pipe, antlers Installation varies in size: app 12 x 9 x 1 inches
“And Then There Were None” 2016, concrete, steel pipe and eagle claw ( simulated )
“Bucking the Pipeline” 2015, concrete, antlers, steel pipe. 76 x 20 x 20 inches
“Last Stand”, Exhibition at SOHO20 2016
“Little House on the Pipeline” 2015, concrete, steel pipe, antler and bedspring.