We hope that taking another look at her May/June, 2000 Artist in the Spotlight will allow us all to recall her quick wit and down-to-earth ways. This past interview by Arliss Newcomb is vintage Elaine.
Artist Spotlight - Elaine MacKay
This is an interview conducted by e-mail and phone with Elaine MacKay. She has been a member of NWSSA since 1996. Where she lives says a lot about her character and also the type of stone she uses for many of her pieces of sculpture. Twenty-five miles southwest of the Columbia River and in the small town of The Dalles, OR, Elaine and her partner, Pat, live on 40 acres of land on the lower slopes of Mt. Hood, with National Forest land on one side and wheat fields for miles on the other, and lots of beautiful basalt in all sizes and shapes for the taking. They have built their own home, using native stone for much of the structure’s interior. Self-reliance and hard work are very much a part of living in a remote area.
AN: Who are you and what is your history as an artist?
EM: The question, “Who am I as an artist?” might more correctly be titled, “The Road Not Taken” and begins back in 1968. I had transferred to a small liberal arts college at Mt. Angel, OR. This was my first exposure to art. Coming from a red-necked background in farming in a small Eastern Oregon community, WE DID NOT DO ART! At Mt. Angel I had to pick a major. I really wanted to go into art because I worked with my hands all my life, but the ageold question at the time was “what are you going to do with a degree in art” and having a very fragile ego, I picked English instead. But every free moment I could find I spent out in the Art Dept. I made handbuilt pots, fired in the Raku method, in a kiln we all built in the side of the hill. We spent long hours collecting clay from the river banks and mixing our own glazes, then firing late into the early morning hours, flames soaring over our heads. A very mystical experience and one I’d never forget through the intervening years when I involved myself in homesteading and various pursuits aimed at earning a buck. I did not actively engage in art again until 1996
AN: How did you get back into art?
EM: Just a very lucky chance! Vic Picou came to visit a friend and neighbor of mine here on the Ridge. Although I didn’t meet him at that time, my friend Jim told me he was a stone sculptor. I nearly went bonkers! I have always loved stone, hauled em’ up from hell at times. I stacked ‘em and placed them and ruined many a good one because I didn’t know what I was doing, but I never did any pure art. To make a long story short, I phoned Vic, he mentioned Camp Brotherhood, and it sounded like a wonderful opportunity and Vic assured me that I would be welcomed. I was! I call it the summer of my rebirth. Here I was, surrounded by all these wonderful people, a little intimidating, yes; BFA’s, MFA’s and more A’s than you could shake a stick at, but folks would come over and ask me what I was doing and say “Cool.” Like pouring water on a plant dying in the desert. Wow, what a wow! What a group of people! This event coincided with an article I had just read entitled “The Long Sleep” from a book by David Quammen. It dealt with the extinction of a species, in this case the Dodo bird. Being alone, having no one else of her kind, being rare and through a complicated synergy of links is pushed into extinction by death. It was how I felt before Camp Brotherhood ’96. Then I discovered NWSSA and I knew to the depths of my soul I had found my life link. So I went back the following year and began my pursuit of knowledge of manipulating stone.