Julie McNair grew up in Louisiana and Texas and studied sculpture at North Texas State University and the University of Wyoming. Julie taught ceramics and sculpture at Mississippi State University until 1983. In Houston, TX, she worked as the Director of the Art League of Houston.
She moved to Telluride, CO in 1985 and operated her own gallery until 2003. Julie has been involved with the Ah Haa School as staff, instructor and volunteer since 1991 and framed for Telluride Gallery until recently. Julie has been featured and represented by numerous galleries over the Southwest United States and in Texas.
While her expertise is multi-faceted, her work of recent has been in clay sculpture with mixed multi-media. Her human-like figures often come to express ironic, personal, humorous and universal themes, but are always done with a magic that defines the work.
We asked Julie a few questions:
What is your chosen artistic medium?
Clay is my preferred medium because it lends itself to my intuitive creative process. “The clay literally guides me and takes me someplace new. Generally the work becomes a puzzle for me to solve.” Once the form is created and fired, then it is a blank canvas without a clear narrative. It is in the finishing that everything comes together. I incorporate some glazing with oil pigments, acrylics, stolen ink (gel medium transfers), graphite, Prisma colors, fire and anything that might create an interesting effect.
What was a growth moment or barrier breaking realization for you?
My latest series is different in a number of ways. Originally working in bronze and aluminum and using patinas, I would try to do the same with clay, always tarnishing the finish with a torch and combustible materials. Now the mixed media finishes are bright and playful. While I love the very grounded feel of the larger standing figures, the newest work hangs on the wall. As a sculptor, I was working as large as my kiln would allow. I am comfortable offering these more detailed, intimate figures. Additionally, instead of being motivated by a discomfort between man and nature, the latest series has a more harmonious union.
What keeps you engaged and moving forward?
I have been a working artist for 45 years and I cannot image life without the creative process. It is the greatest gift in my life! Not to discount the multitude of influences and people in my life, in the studio it’s just me and the materials and the desire to explore something I’ve never seen before. Sometimes the energy that flows through me is quite a rush!
What are your prep or practice rituals to get you into the artistic head space?
I start by grounding and allow ideas, words and images to flow. Next I attempt simple sketches to see physically how things might work together. Once I have a notion of a direction, I begin forming in clay and allow the clay to help define my concept.
If you could have a conversation with one artist, alive or deceased, who would it be and why?
I have long appreciated the work of Patti Warashina and actually attended a workshop of hers in 1977. I was still working in bronze in those days but was later hired by Mississippi State to run their ceramic program and create a sculpture program. Never receiving money for the foundry, I became a clay artist. Patti Warashina’s work has always inspired me with her intricate details and narrative story telling. I would love to learn more of her techniques.