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Kirk McCoy has startled people with his sculpture. Following in the footsteps of many engineers in this country who became outstanding sculptors, he brings to the art of sculpture a new approach filled with magic and executed with masterly skill. Like a wizard, Kirk McCoy sees the flow of color and the shapes in his stone creating surrealistic, abstract pieces which invite conversation and explanation.
Alfred Van Loen, International Stone Sculptor
Kirk McCoy?s head of the Surrealist "Andre Breton" is not so much a likeness of the poet as an allusion to his technique of finding expressive forms in the subconscious. The artist has discovered his subjects features buried within the stone, as Breton might have formed a word portrait from deep within the mind...as an unusual adaptation of Surrealists automatism to sculpture, it works.View Clipping
Helen Harrison, NY Times Art Review ?89
A self-taught artist, as well as an engineer, photographer, chef, welder and furniture designer, McCoy continues to develop the talents of a carver and constructor. Unlike most sculptors of stone, his use of highly figured material has led to an extended study of color and painting. Klee and De Chirico are influences as well as works by Francis Bacon and Rene Magritte."
Roberta Balfus, Art on View
Mr. McCoy also concentrates on exploiting the innate potential of his medium, in his case Rhyolite, a heavily striated volcanic rock. But unlike the painter, who invents his forms from scratch, the sculptor often finds the forms within the material and works to emphasize what is inherent in it. Thus in ?Spacescape #2? a stratified cloud formation is evoked as a backdrop for a ball suggesting a moon. ?Dare I Dream? brings out a pale area of stone to represent a simplified head surrounded by arabesques of colorfully figured stone that might be interpreted as the dreamer?s fancies.
When he underplays the stone's properties, as in "D.D.B.," another stylized head in which facial features are simplified to a T-shaped slit, he demonstrates that he can make elegant shapes independent of the material's constraints.View Clipping
Helen Harrison, NY Times Art Review ?94
Among the standouts are examples from Kirk McCoy?s cherry wood ?Chelsea? series, especially ?No. 8,? with it?s complementary curved elements balancing like dancers in a graceful pas de deux.View Clipping
Helen Harrison, NY Times Art Review ?98
Mr. McCoy is also a versatile sculptor who excels in several media. His 'Heart of Mine' is a stark, simple statement, a rough-hewn homage to wood's sensuous appeal. ?Ronin? exploits the vivid graining of rhyolite stone, from which the artist has coaxed a helmeted warrior.View Clipping
Helen Harrison, NY Times Art Review ?99
Mr. McCoy's work is exciting and new in it's treatment of granite as if it were churning liquid frozen at a the moment of the artist's touch, as in Faust, with it's baroque movement, interior and exterior gouged space, rapid linear changes, variations in texture from smooth and flat to raw and jagged.View Clipping
Rose Slivka, East Hampton Star Art Review '01
Kirk McCoy is the Mark Twain of modern sculpture, a diverse artist whose pointed remarks are delivered with more than enough humor to draw the viewer into his world of color. His pieces demand attention.
Jacob Lipkin, Noted Stone Sculptor
This show defies tradition as the classic mixes with the funky and bizarre. In a room directly off the main hall, one sees proof that the keepers of this gallery are not afraid to have fun.
Bright green inflatable snakes, red tongues flaring, creep out of the top and around the legs of an old washing machine which is painted pink and white. This free-standing work by Kirk McCoy is entitled "Eve" and stands near the gallery's stately old grand piano: dignified oils and watercolors are in the background. View Clipping
Scott Burton's cubelike s are the inspiration for Kirk McCoy's "Memorial," in which organic wood becomes a geometric monument. View Clipping
Helen Harrison, NY Times Art Review '93
Like the sculptures of [Scott] Burton, to which the title alludes, Kirk McCoy's Burtonesque Seating, a group of tapered oak uprights, can be appreciated as pure abstract forms or as a more functional outdoor furniture. View Clipping
Helen Harrison, NY Times Art Review '00
[McCoy's] Responds to the shades embedded in the raw rock, and the color fields help determine the shapes. Nor does he mix sand match his materials; every sculpture-with all its variation in texture and color-is chiseled out of a single piece of rock. View clipping
Margaret Regan, Tucson Weekly Arts Review, '06
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