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I am Rod Bouc.

Painting & Drawing is my art.


Keny Galleries

“It’s important to me to push through the initial stages of an image’s development until it reaches a point that I consider to be art. This approach digs into my work ethic and emotional connections to memory and awareness of nature that result in a personal interpretation of a scene.”

Where to See Rod Bouc

"I paint using oil stick or encaustic stick on board. Oil stick is a wax and oil medium formed into a cylindrical bar or crayon form much like oil pastels. They come from different manufacturers in a variety of sizes, hardness, colors and saturation. I use them all, including oil pastel, for the ranges of expressive application. I love their use in relation to drawing. They provide me with the ability to layer aggressively. The surface provided by encaustic allows the viewer to see the medium simultaneously with the illusionistic image."

"It seems to be important to me to paint with my hands and fingers. I don’t like to use brushes. I also love the texture and surface that oil sticks provide."

"I draw with charcoal and pastel on large sheets of Rives BFK rag paper. I am attracted to the larger size because the viewer is drawn into the image in a more complete way. I use a wide variety of erasers, including electric erasers. The erasers work as the white or lighter shading in the drawings. I really like to scrub down to the paper level. This technique situates the image into the paper not on top of it. "

"The road is a common theme for me when drawing. It relates to the unimproved, unmaintained, dirt roads found in rural places that represent the significance of work and beauty to me."

"The particular weeds I choose to paint—sumac, golden rod, broom grass—are common to Nebraska and recall memories of my time in the country. Even the Kyoto landscape of a garden in Japan I visited refers back to the hours I spent as a child on the banks of creeks."

"I grew up on a farm in eastern Nebraska, and I attended a one-room school house for most of my elementary education. I was the only student in my grade. I had a perfect start. I progressed at my own pace with personal attention from my teacher."

"I also work with monotypes and what I love about monotypes is that the medium is somewhat uncontrollable. I am usually surprised with the resulting image. They are drawn with softer encaustic sticks. I paint directly on a plastic or metal plate. The paint transfers to the paper in the printing press or by using a large rolling pin. The process acts like quick oil sketches while often providing a complete, finished, single image. I often run the plate through the press once or twice more to reveal a fainter image called ghost images. These images are often equal to or better than the first pass. Sometimes I enhance the image with the use of pastels. "

"I have to say that working as an arts administrator, installer and handler for more than 40 years has exposed me to an incredible amount of artwork that pushes me forward. I can’t help but feel the delightful pressure to do better, work harder, improve. I also gain inspiration from the process. "

"I am recharged by the isolation and concentration of the creation process. I love to disappear into the subconscious while working my way through the process. Sometimes if I get stuck in one medium, changing to another will inspire me to change the habits I’ve developed in the previous medium. Monotypes cause me to work in new ways, just as switching to drawing or painting can do. "

"In the past I was intensely drawn to move to a major city so that I could ‘make it.’ It’s extremely hard to make a living in those environments. The economics of living life just don’t work out. Columbus provides a great mix of affordable living environments to live and work. "

"The thing that Columbus lacks is an honest support for local artists by paying the fair amount for a professional work of art. Most folks seem to think that a few hundred dollars is the amount that they should have to pay for any work of art. There doesn’t seem to be a real understanding of the value of our local art scene. There also isn’t a structured community support vehicle for our landed art institutions. All of our public art institutions are in a constant state of financial struggle that keeps them from truly thriving."

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