Brother Ralph Bucci, FSC - Maker's Monday February 2024

Brother Ralph Bucci, FSC

Brother Ralph has been a member of SCAA since the 1980's, showing in our exhibits almost every year since then, and he's won quite a few honorable mentions over the years. A dedicated supporter, he is a former board member and even helped former President Brie Taylor curate 3 exhibits at our gallery in the 1990's. In addition to his involvement with SCAA, Ralph is also a member of the Providence Art Club and has had solo and group exhibitions at the Lyman Allen Museum, Attleboro Arts Museum, Manhattan College, and Providence College. He was a member of the Salve Regina University Art Dept as gallery director where he also taught 2- and 3-D design and ceramics courses.
Currently, Ralph works at Yonkers Ceramic Studio in New York, but he also recently took a workshop with Theresa Girard as well as participating in a residency with Kevin Gilmore in an effort to explore color and 2-D artwork more.

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Where are you from, and what do you make?

I am a Cranstonian; attended La Salle Academy; entered the Brothers of the Christian Schools and lived three times at our Center on Ocean Rd. in Narragansett; BA in Italian from The Catholic University of America in W.D.C., M.Ed. from RIC, and MFA Ceramics at The George Washington University in W.D.C.
I currently work at Manhattan College (Bronx, NY) in the Career Development Office.
Although I have thrown on the wheel, my preferred construction method for my sculptures is hand building, using slabs and coils, and three elementary tools, a fork, various serrated metal tools, and a 30-year-old homemade paddle.  I’ve focused generally on four themes or so: messengers, dolmen structures, closed vessels, -scapes (with mountain/hill scape references) and more recently winged closed vessels and winged “artifacts,” an off-shoot of the closed winged vessels.

How long have you been seriously pursuing art?

Since my undergraduate days. Nell Sonoman, who taught a philosophy of art course that inspired me to see art better and to be in-tune with what it does to our spirit.
Many of you may be aware of my themes and forms over the years. They aim to expose my (and all of our) connection with the collective unconscious: with mystery, with invitation to participation while setting up inhibitions at the point of invitation; with pursuing personal and spiritual development. We wonder about [the themes and forms], what are they, what do they do, how do I react, what captivates me (the viewer), thus starting an active engagement.

What inspires you to create?

Nature, the earth – I’m an avid gardener – even now in NYC with 130 – 210 potted plants over the last two years. I’m fascinated by color and the consequent visual texture it creates as it combines with actual texture. I love touch.
[My work] is the result of what it means for me to construct pieces – what I see is the intimate relationship between building clay sculptures and my personal/spiritual development. Briefly, I have an idea of where I want to go with a piece.  I begin a conversation with the piece, sometimes quite obviously taking the lead; then other times, having to step back, a somewhat unconscious read of how the form is responding; and then continuing that dialog, moving to a sensed but at-the-moment imprecise goal. Building, paddling, removing clay, altering a form’s/shape’s direction moves to an unknown final reality.  Something similar to how I (we) grow individually; how I become the person I am now; how I grow more intimate with my spirit – even in my relationship with my God and His people. All these processes happen slowly, progressively and resulting in a new awareness at their completion.  Then the process begins again.

Which artist outside of your chosen medium has had the most impact on your art? What do they do and in what way do they influence you?

Michelangelo’s unfinished figures: the struggling postures of the figures and the clear evidence of the stone from which they were coming alive.
The abstraction of Henri Matisse’s larger than life-size series of Backs in the courtyard: the shapes/forms, their abstractions; their textures.

Is there a work of art that has changed your life or how you view the world in some way?

There isn’t just one. The contemplation of what generally calls my attention, through theme, playfulness, texture and color hold my attention. I believe it calls up something in my collective unconscious.

As a member of SCAA, what do you like most about us?

SCAA is where I had my start, in a sense. I appreciate the community and really enjoyed working on the Board. I became friendly with Jason and even assisted in a few installations some years ago. And Kathleen Carland. We both attended a prayer internship at Our Lady of Peace Retreat House, unbeknownst to each other until she read my resume. And the community is a good bunch of people.

Tell us a joke:

in response to sending in the materials for the Q&A:
I was hoping to have this to you yesterday, but it’s now Wednesday! When I’m one day late, I’m actually early!