Nancy is re-engaging her art practice later in life, proving age has nothing, and everything, to do with the desire to pursue a lifetime of art-making.
A native Washingtonian, Nancy Bocek began her artistic journey with a bachelor’s degree in art history from Reed College. At work in Palo Alto, California, after graduation, Nancy accelerated her craft as a studio potter with a love for throwing on the wheel and a passion for functional design. Back in the Northwest at last, she expanded her practice at Pottery Northwest with increasingly sculptural pieces, often melding the functional with the ornate utilizing molded elements to create art vessels.
Nancy took time away from her practice to raise her family in Seattle. In 2012, Nancy entered Gage Academy of Art and began sculpting in earnest under the instruction of sculptors Michael Magrath and Tip Toland. She is currently pursuing her practice in the Magrath Atelier and will exit the program in June 2019.
From the study of anatomy, to mastery of the materials and processes, to artistic expression, Nancy finds figurative sculpting spellbinding; a hands-on, intellectual and emotional exploration. Its demands are riveting at every turn, whether it’s constructing, firing, molding and casting or fabricating.
Nancy sculpts the human figure from life as a way to closely observe and engage with our humanity and to express the feelings we harbor of our personal and societal realities. She feels nothing may be more enjoyably challenging than translating a living person into an artwork with a life of its own while creating an accompanying visual language by the exploration of the meaning of form.
In many of her works, she finds a new context for the human subject through an interaction with a form that has a function in human daily activity. Questions develop a visual language of metaphor and symbolism as a new context for the possibilities and complexities of our humanness. As our civilization’s mundane tools (hinge, spike) interact with the individual, we wonder: What does the form symbolize? How does it inform the artwork and interact with the subject? Why do we have a visceral reaction to it? Can it mean different things in different contexts and to different people? This investigation gives rise to questions regarding modern myths and mythologies and meaning for each individual viewer as well as the artist.
In her self-portraits, Nancy experiments with thinking outside of the ceramic artist’s box. These works are rooted in her bond with clay and its expressive nature. She finds self-expression in self-portraiture by following a thought and giving herself freedom to do something “odd” and pure without fully understanding the motivation, and she has a great time while playing with the idea.