BIOGRAPHY

May DeViney was born in rural Ohio and raised in suburban Chicago.  Her father was a Steelworker’s union mechanic and her mother a registered nurse. She attended the School of the  Art Institute of Chicago and studied under influential artists, such as Jim Nutt of the Hairy Who movement.  Since then she has studied at the School of the Museum of Fine Arts in Boston and taken many art seminars.  Though she has never completed an arts degree, she received a Bachelors in Computer Science from Boston University, and worked for many years in the research and high tech sectors, which continue to influence her style and interest in technology.

She has had solo shows in New York City, Florida, New Jersey and Iowa.  Her work has been included in juried shows at national and international levels and has been included in national publications, such as Harper’s magazine, the New York Times and on the covers of Prism and Gallery & Studio magazines.

She has remained a lifelong feminist, active in women’s rights organizations.  Her world view has never moved far from her Midwestern upbringing, influenced by the lives of blue collar and union workers.  Her artistic style remains heavily guided by her heritage, often reflecting the styles of artists like Joseph Cornell and Grant Wood, but combined with the styles of Renaissance,  historical and religious art.

 

 STATEMENT

One of my major interests is the ways in which women often are raised to accept the idea that their noblest work is that for which they receive low or no pay and few words of thanks.  Across the globe, many of the cultural symbols of perfection in women share the common qualities of selflessness, modesty, perseverance and reticence.  My work uses classical figures to represent women in general and ponders the impossibility of living up to unachievable standards and the injustice of being compelled to. 

But my interests go beyond sexual politics and also include modern society and current events of every kind.  I have explored themes of climate change, work and joblessness, cross-cultural social divides, gun control, prejudice, and many other issues.   

While I began as a painter, for most of my works I like to include found objects, antiques and general detritus because each item contains historical implications from its past life, even when its history is not a particularly glorious or noble one. These items add implied age to my work, letting it join with history’s stream.  But I can’t resist opulence and colorful expression. Though the visual experience is opulent, the themes may be far from beautiful but, rather, dirty little secrets and ugly truths.   

My work can exhibit joy and whimsy as well, because I revel in the quirkiness and resilience of humanity and don’t feel there are any issues humans face that can’t be solved over time if we work at them.  Except for climate change.  We need to work on that one fast.