Shannon Gardner appreciates the spontaneous process of nature and strives to explore Earth’s unearthed beauty and imitate its natural imperfections. Her interest in the macabre began while studying nature and the paranormal at a young age.
Gardner’s use of watercolor and India Ink are unforced and create beauty within flaws while crafting an earthy grunge appearance. This technique assists the viewer to observe the Asian aesthetic Wabi-Sabi; appreciation of imperfections. Her use of dots and lines creates an impression of a technical drawing. Stippling and cross-hatching create clusters of value implying crisp texture and depth, giving the illusion of change through time.
Self-taught or art school?
I have always been an artist. Picking up a pen or pencil had always been my thing. Attending art school allows the opportunity to put your talent to use, learn how to talk about art, inspiration, influences, etc. Education is one of the most natural and beautiful aspects of life, I hope to forever be a student. I love the discipline of attending University.
If you could own one work of art what would it be?
I would love to own Edvard Munch’s Love and Pain. Commonly known as Vampire, Munch’s painting was unveiled in 1894 in Norway. This piece, along with many others, helped Munch become the uncensored artist I aspire to be. The piece was considered taboo for the time as it expressed extreme emotions, strong use of colour, and unrestrained subject matter. Throughout his body of work, I most admire his use of pigment and the efficiency of quick and limited use of brush strokes in his paintings.
How would you describe your style?
My work holds a natural haunted aura with an earthly grunge appearance. I focus on the appreciation of beauty within flaws (wabi-sabi).
Can you tell us about your artistic process?
I often draw on paper with an ink pen an interesting idea, usually spur of the moment. I enjoy creating multiple line pieces over a relatively short period of time, usually a few weeks. The pieces sit unfinished until I find enough time where I can devote myself to paint all the pieces with watercolor. Through my process, I attempt to disassociate my hand from my consciousness, work directly from instinct. As a result, I have found my best work is created when I’m not thinking.
Is narrative important within your work?
Yes, in my work narratives are essential. Every piece I make is inspired by a narration and carries the elements within the strokes of the piece. I hope each viewer can create their own narrative immediately during the viewing of my work. That innate connection is vital to my work.
Who are your favourite artists and why?
From an early age, I have been mesmerized by the macabre works of Tim Burton. The dark and stylistic approach he takes to all forms of life makes Tim an unparalleled visionary. His art emphasizes beauty found in the bizarre recesses of Earth, something I innately desire to explore.
I am influenced greatly by the work of Yayoi Kusama. Yayoi finds lucidity and reason within her paintings, sculptures, and installations. Through her use of dot work, the viewer can absorb the mental anguish inspired by her mental illness. Both these idols have a shared capability of finding sanity through their work, something I immensely admire.
What or who inspires your art?
The artwork I create is inspired by anything explicit. In my work, I strive to evoke ghosts, faded memories and give attention to things that have been forgotten. I strive to make unique art that awakens feelings and exposes Earth’s unbridled beauty.
Where’s your studio and what’s it like?
My studio is in my house. There, you would find numerous boxes of framed original artwork, prints, t-shirts, publications, etc. along with dozens of w.i.p. I have a roommate named Franky Bones, a skeleton model, who lives in my studio. He is great for morale and matches all my decor.
Do you have any studio rituals?
I usually paint when I work in my studio. I enjoy painting (watercolor) from a used palate, working off pigment from previous sessions to avoid wasting materials. I find working on paintings in the mornings while working on drawings at night yields the best results.
What are you working on currently?
I am currently working more in collage, assemblage, and sculpture. I have always worked in 2D with an emphasis on the outline, so when branching out to 3D I am enjoying playing with the minimalist relationship between figurative and abstract work.
Where can we buy your art?
http://www.etsy.com/shop/spookeyskeleton
