On the Village Green
Acrylic and gesso, oil pastel, and pastel sec on paper, 22" x 22." (Framed, floated on rag mat, 30" x 30.")
Romancing the Mermaid
Acrylic, gesso, watercolor, oil pastel on paper, 26" x 22." (Framed, floated on rag mat: 34" x 30.")
Visiting the Aquarium
Acrylic, gesso, oil pastel and gouache on paper, 30" x 22"
Collage: acrylic and mixed media on paper, 20" x 22." (Framed, floated on rag mat: 28" x 30.")
The Gypsy Wagons
Mixed media collage-painting, 22"x 25." (Framed, floated on rag mat: 30" x 33.")
Acrylic and mixed media collage-painting on paper, 30" x 22."
Mixed media collage-painting on paper (acrylic, gesso, oil pastel), 30" x 22." (Framed, floated on rag mat: 38" x 30.")
Collage of painted paper on cradled, gessoed wood panel, 24" x 20." (no frame necessary)
Acrylic and gesso on paper with collage, 31" x 22." (Framed, floated on rag mat: 38" x 30.")
Superbia in Suburbia
Acrylic, gesso, gouache, India ink, and colored pencil on paper, 22" x 22." ( Framed, floated on rag mat: 38" x 30." --Superbia is Latin for the sin of pride, by the way!)
An Artist’s Statement: Mary Boxley Bullington
Color and story are my two true loves, and so two distinct currents have developed in my paintings and collages, the figurative or representational pieces in which there are recognizable objects and creatures, and the non-representational pieces, in which there are, ostensibly, none. Both genres are works of the imagination rather than of direct observation, and in both genres I delight in contrasts—dense layering and gradual development broken by swift gestures and percussive rhythms amid flashes of light and air. I don’t work exclusively at any time in any one way. Instead, each piece emerges gradually, until I recognize that it has achieved a distinct individual order and a satisfying unity.
Usually, I start a new piece by painting freely on paper, observing what happens. I may make up some arbitrary rules as I go—this time, I’m starting with ten fragments of painted paper I pick up off the floor, or perhaps I’ll start with a swirling drawing in yellow and orange oil pastel beforeI let myself pick up a paint brush. As I go, I might recall a story from Greek mythology, medieval romance, or the Bible; or I might begin make up a tale of my own. In pieces such as “Snake Guards the Gypsy Wagons,” a narrative is implied, but not spelled out. Who are these women? Do they live in the gypsy wagons or in the houses behind them on the hill? Is Snake guarding the wagons for them or from them?
On the other hand, in non-representational paintings such as “Spring Green” and “On the Way to Market Square,” the dynamic relationship among colors and shapes, textures and marks are the story, and I work quickly, trusting my instincts and my eye. Later, I will study these pieces for a while, looking to see whether they are self-sufficient, finished pieces, or whether they need editing and final touches. Some works require a total reworking. One of the beauties of collage is that I can cut up two or more individual pieces and combine interesting elements to come up with something entirely new.