About Mary Hood



Mary Hood,  originally from Milwaukee, Wisconsin is currently an associate professor at Arizona State University in Tempe, Arizona where she teaches intaglio and digital processes for printmaking. Previously, Mary taught at Carnegie Mellon University and the University of North Texas, respectively as a visiting assistant professor. As part of her teaching philosophy, Mary focuses on the idea of the democracy of printmaking, the distribution of individual voices and the collective impact of community-affiliated projects. Recent projects include RIPPLE (2005), a fundraising event for Katrina evacuees in Arizona, DITTO (2006), a public art printmaking project, and Map(ing)(2009/2011/2013), a collaborative printmaking project between Native artists and ASU graduate students. Mary Hood received her Master of Fine Art degree from the University of Dallas, in Dallas, Texas and her Bachelor of Fine Art from Ringling School of Art and Design in Sarasota, Florida. Mary’s studio practice focuses on concepts of Silence, Time and Space, Identity and experience and has been exhibited widely throughout the world including the International Print Center New York, NYC, Denver Art Museum, Denver, CO, Blue Star Art Complex, TX, LaGrange Art Museum, GA, Loyola University Chicago, IL, Kasene Kulturcenter, Denmark, Estonia National Library, Estonia, Contemporary Art Projects, Bulgaria, VACA Cultural Association, Italy, Polytechnic Institute of Technology, New Zealand, Pont Aven School for Contemporary Art, France, Alexandria Bibliotheca, Egypt, International Print Triennial in Krakow, Poland, and the Guanlan Print Biennial in Shenzen, China. Additionally Mary is the recipient of numerous residencies, publications, and awards, including the 2008 Faculty Achievement Award and the 2006 Award for Public Scholarship.  Most recently Mary was awarded the Evelyn Smith Endowed Professorship for the 2012/2013 academic year.


1995-8   Master of Fine Art, Printmaking, awarded Full Tuition Remission Scholarship by the Braniff Graduate School: Braniff Graduate School of Liberal Arts, University of Dallas: Irving, TX.

1990-3  Bachelor of Fine ArtPrintmaking/Painting, awarded the Verman Kimbrough Endowed Scholarship an the Dorotha Dawson Memorial Endowed Scholarship, Ringling School of Art and Design: Sarasota, FL

Recent Posts

Mary Hood




Et in Arcadia ego: Even in Arcadia, there I am.” This Latin memento-mori phrase is cautiously reminding us that complexity resides in apparent simplicity. In my recent works I explore the mystery and symbolic secrecy of utopian Arcadia, historically celebrated as an unspoiled and harmonious wilderness devoid of the impact of human civilization. It is glorified as the spontaneous result of a life lived naturally, uncorrupted by civilization in pastoral simplicity. Yet, creation is by nature is both harmony and conflict. As guardians of Arcadia, it is our work to guide conflict to harmony, though all too often conflict is used as a means of personal gain. My recent work exists in this utopian environment at the luminous point in time between day and night, where imagination is unquestioned and empowered to construct new a worldview. The world we live in often feels shaped by catastrophic events, both internal and external, and a sense of looming crisis seems to provide the structure of feeling for our time. This work investigates utopian and dystopian constructions; exploring the boundaries between the idealized and abstracted spaces of an immaterial world. Without becoming too didactic, my narratives allude to themes within contemporary culture that express a political or social point of view, using animals as a metaphor for human behaviors and contemporary events. Because bears have been known to live on all continents with the exception of Australia* they serve as my primary metaphor, though I also make images of birds that fly into invisible fences, dogs who are sleeping while on guard, bunnies who are unwillingly displaced, and eagles that run through forests trying to escape world scrutiny. The act of rendering visible the difficult, the uncertain, and the unconscious helps me to understand how the precarious nature of life can be examined and how it makes us feel. *(Note: the Koala Bear is a marsupial.)

For many years prior I worked with the idea of Silence in artist’s books, prints, paintings, drawings, sculptures, sound, and installations that sought to create a temporal environment for experiencing Silence. In 2000 my ideas turned to the abstract notion of Time, which, like Silence, is purely rhetorical rather than factual in its definition. In the fall of 2004 I fully turned my attention to the Now and began hand creating Ten Thousand Tears. This  project was an important tool for me to reflect upon the  environmental, social and political unrest in our chaotic global theatre.  A series of prints and artists books followed in which water is pooling, overflowing, diverting and escaping. The water in turn becomes the substance of reflection and a symbol for our collective sub-consciousness, and within each drop of water I etched my fingerprint to give an individual identity to the symbolism in the image.   ~  Mary Hood