Art, Maps, & The Universe: Q&A With Shannon Rankin

"Guardian," by Shannon Rankin

Shannon Rankin, of selflesh, is an explorer searching for connections between anatomy, geography, and botany. Based in Rangeley, Shannon is an artist who works in collage, painting, and drawing - a true mixed media connoisseur! Her work is at once simple and complex: the shapes and silhouettes are familiar but underneath there is another element that provokes deep and meaningful thought. I recently had a chat with Shannon about her work and what inspires her.

Jamie: How long have you been making art?

Shannon: I've been making things since I was a little kid, but I have only considered myself an artist for about 10 years, which isn't a very long time. I suppose I'm a late bloomer.

I attended the Maine College of Art in Portland, Maine, where I received a Bachelor of Fine Arts degree in 97' with a focus in Graphic Design and New Media. After graduating, I moved out west, worked as graphic designer, and created interactive art on the side. I quickly came to the conclusion that being a graphic designer didn't fulfill me, so I eventually made the decision to dive wholeheartedly into being an artist and return to Maine. I haven't looked back since.

J: How has your work evolved over time?

S: My varied work over the past 10 years has had a common underlying thread of connectivity. Though the connectivity didn't always reveal itself at the time, it begins to do so, with a little perspective.

I have always incorporated a variety of media, and approaches to my work. I find that this way of working allows for the overlap of varied subject matter and materials, which often provides new insight that can lead to new directions and discoveries. I feel that the work I am creating now is considerably more focused than it used to be, which has taken some time to reach. I believe there is an essence to the work now that has more clarity to it, and content within it.

"Vesica Picis Pattern," by Shannon Rankin

J: Where do you find inspiration?

S: Since much of my work is inspired by nature, making a recent move to the country has been a huge influence for me. I spend a great deal of time observing, and photographing the smallest details in nature. I am especially drawn to the variety of plants surrounding us here in Rangeley, and I have recently begun a new series of drawings that loosely reference the structures of these plants.

I am also inspired by the books I've been reading over the years; books by Alan Watts, Carl Jung, Henry Miller, Joseph Cambell, Carl Sagan, and now Eckhart Tolle.

"Untitled (Head)," by Shannon Rankin

J: What is the story behind selflesh? What is the significance of the name and how does it represent your artistic philosophy?

S: The fictitious word selflesh emerged out of the completion of my thesis project during my final year at MECA. At the time I was reading about Jungian philosophy and the theories behind the "the process of individuation", or how one finds meaning in their life. Merging the two words self and flesh into one, essentially represents both spirit and form as a whole. The word also makes reference to the acts of selfishness and selflessness, and the duality of human motives. At times my work is ambiguous or may have multiple meanings. This leaves room for a personal interpretation of the work, which I find is vital for the work to have depth.

"Symbiosis," by Shannon Rankin

J: Your work is about exploring connections between geography and anatomy. What have you discovered about these connections through your art? Why is that important for you to explore in your work?

S: I combine the visual elements of maps and natural forms to explore themes of travel, healing, and time. I'm interested in discovering connections between things that are seemingly disparate. However, there is clearly a connection between the visual elements of maps and anatomical forms, where analogies can be made about arteries and blood vessels being like highways, streets, and rivers. "Symbols of cities become acupuncture points, and meridian lines, like rivers, represent an internal system of communication and transport."

"Germinate," by Shannon Rankin

The "Germinate" piece (exhibited at CMCA as part of the recent Biennial) is inspired by my interest in geography, and botany; and my attempt at finding connections between these two subjects. The overall structure of "Germinate" is based on a seed pattern found in nature, which is derived from the Fibonacci Series (http://en.wikipedia.org/wiki/Fibonacci_number). This pattern is found (among other things) in sunflowers and pinecones.

"Globe-like dots, reference small worlds suggesting the potential for a broader landscape. The ephemeral nature of maps, speak to the fragility, and transitory state of our lives and our surroundings."

Shannon installing a smaller version of "Germinate" at the Hudson D. Walker Gallery in Provincetown, Mass.

I am intrigued by patterns that are reproduced in all levels of the cosmos, from the largest scale (macrocosm or universe-level) all the way down to the smallest scale (microcosm or sub-sub-atomic or even metaphysical-level).

J: How do you feel about being a part of Maine's increasingly dynamic art scene? Has it influenced you at all?

S: It seems to be growing so quickly, and there are so many uniquely talented artist, designers, and craftspeople here in Maine. Their creative energy is flourishing and contagious, and it seems as though more and more artists are becoming unwaveringly committed to their work, which is hugely inspiring!

Since I am now a little more isolated living in the country, I also find myself becoming more connected to artists around the world though online communities, which is really a remarkable and wonderful thing.

J: Can you tell me a bit about what you're currently working on?

S: I am currently working on a series of large-scale organic drawings, and developing more ideas for large installations similar to the "Germinate" piece at the CMCA. I also have some new anatomical map collages in the works where I am working with layers in a new way that I am really excited about.

I also create small affordable commissioned map collage pieces, which are available through my etsy shop. http://www.selflesh.etsy.com

J: Do you have any special projects or exhibitions planned for the near future?

S: I am currently working on a handful of different projects right now. I have a few group shows coming up, one in Rhode Island, and the other is in New Hampshire where tiny is the theme. Outside of that, I intend to spend a long winter holed up in the studio, prepared to emerge in the spring with a new body of work to share!

* All images courtesy of Shannon Rankin

Art Walkin'

The First Friday Art Walk is a beloved tradition in Portland. It has been a very long time since I've participated in the craziness that is First Friday, so I thought I'd make up for lost time and venture out to some of my favorite galleries in Portland. The night was cool, crisp, and abuzz with energy. There's always a great carnival atmosphere at First Friday, and this night was no different.

"Breastplate" by Crystal Cawley

My first stop was Whitney Art Works, where they were celebrating the opening "The New Recyclists," featuring the work of Crystal Cawley, Dan Dowd, Pam Brown, and Rose Marasco. Some artists recycled materials, whereas others "recycled" personal experience, revisiting the familiar by unfamiliar means.

Crystal Cawley did this particularly well, using the written word as her inspiration. Her deconstructed pieces were created using books. Words or phrases were cut out and put together in new ways, pages were removed from their covers and sandwiched together with pages from different sources.

"Circle #1" by Rose Marasco

Rose Marasco is one of my favorite photographers. I am drawn to the simple, nostalgic sensibility in her work. Her pieces in "The New Recyclists" showed a familiar form recycled in different ways.

Dan Dowd's eerie mixed media assemblages had a narrative quality with a slightly sinister edge. "Our Legs Fit Your Legs" was composed of an old suitcase, doll parts, and ephemera, including a handwritten letter. The individual items seemed like things you'd find in someone's attic, but together, they formed a strange and compelling tableaux.

"Black and White" by Pam Brown

Pam Brown's whimsical sculptures were created with diverse materials and offer strange juxtapositions. Hard, industrial materials such as wire are embellished with soft, organic materials such as feathers.

The ICA at Maine College of Art was showing "Ruminant," a juried faculty exhibition in which the artists each found a subject to focus on, and then present it in a new way. Ling Wen Tsai's quiet, contemplative photographs depicted reflections in rooftop puddles. By tightening the composition, the artist transformed puddles into passages to different worlds.

Yoonmi Nam's sumi ink drawings borrow technique and philosophy from the ancient art of Japanese sumi-e, but the subject matter is entirely the artist's own. The sparse ink drawings illustrated piles of building materials such as wood and bricks, as well as rooftops caving in and buildings falling apart. Stripped of all embellishment, the drawings are simple in form and focus.

I was especially drawn to Adriane Herman's "Wall of Intention," a grouping of nearly 900 lists, written by average people. Each list reveals its author's idiosyncrasies, from eccentric handwriting to funny doodles to personal goals, the lists are more than ephemera. They are little bits of the human soul.

Some of the lists are humorous, such as a reminder scrawled on a piece of toilet paper in what looks to be red lipstick: "Hey babe, don't forget to put the seat down." Another, hastily written on a piece of purple paper reads: "This bag is a reminder for something?" Some are poignant, such as a soldier's to do list. The first item reads: "Prepare for Iraq (again)." Another list, written neatly on notebook paper outlines a woman's plan to overcome the difficulties and disappointments in her relationship: "Get comfortable with the notion that he will never call."

First Friday is a great opportunity to expose yourself to the latest local art, and meet other art enthusiasts in the process! So mark your calendars for November 7th, and don't forget your comfy shoes.

* Images from Whitney Art Works

Natural Instincts

Botanical Study #2, by Gail Spaien

For Gail Spaien, painting is a matter of intuition. The Kittery Point-based artist has exhibited widely in galleries and museums across the country, and is known for her lovely watercolor and mixed media collage works that reference the botanical illustrations of the 18th century, featuring vibrant flowers and exotic birds. Most recently, Gail has shown at the Portland Museum of Art and the George Marshall Store Gallery works that that reference the botanical illustrations of the 18th century with installation. This new direction in her art has come about much like the rest of her painting career: through old-fashioned serendipity.

Gail became serious about pursuing art in the 11th grade, and enrolled in the University of Maine with the intention of becoming an art therapist. But, after a trip to the Whitney in New York City, Gail felt that painting was her true passion. She went on to earn a MFA from the San Francisco Art Institute, and then she moved back to Maine to raise a family, paint, garden, and teach at the Maine College of Art.

Gail's artwork has always been rooted in her appreciation for the natural world. But her recent works are different from the narrative paintings she did in the past. On a whim, she took a botanical watercolor class and became enamored of both the subject and the medium. "It's [artmaking] an intuitive process," she explains. "One thing led to another."

Untitled, by Gail Spaien

"I was interested to work with watercolor," Gail says. "It's a fragile medium, good for drawing…I found watercolor to be better suited to what I wanted to express." Indeed, the lightness and translucency of watercolor makes the petals and feathers of her subjects come alive.

Looking for Food, Singing Together #1, by Gail Spaien

Watercolor lends itself to the calm worlds she creates. Gail explains that her spare, contemplative renderings are a response to the complications of life. "There needs to be painting that reminds us that the world has wonder and vitality," she says. "Accessible, uncomplicated, thought-provoking cultural experiences that comment on the human condition - on a human scale - are essential today. This is what motivates me and informs the directions that I take in the studio."

Gail relishes the opportunity to allow people to become absorbed in nature. Her current project, Garden Archive, raises questions and puts forth ideas related to the visual representation of and human interaction with the natural world. She feels that our relationship to nature gives meaning to the flux of life and allows us to think differently, and to break out of cultivated patterns and glimpse forces beyond us that may comfort, provoke, or inspire us.

The Botanical Room Project #2, by Gail Spaien

The flowers in her installations are tangible elements that help bring her paintings to life. The heady scent of decay hangs in the air as you study her paintings; the "notebook pages" # mixed media collages that seem to have been ripped from a naturalist's field journal # especially create a feeling of someone at work. "Both in creation and presentation, I am striving to produce an imagined setting where the presence of a naturalist in the act of collecting, documenting, arranging, and preserving is felt," Gail explains. She also mentions that these installations have gotten a very interesting response. "People are not quite sure what the installation is. They wonder, 'Is this real?' It's the blurring of art and life that makes a big impact."

Notebook Page 5, by Gail Spaien

Ultimately, Gail wants to create intelligent, accessible art. "Making somebody stop at look at something is important," she says. "I don't want my work to be so complicated that someone can't access it." It is that openness that has helped Gail become so successful. Being a part of Maine's dynamic art scene has also garnered her much attention, and helped her creative process as well. "I just think I live in a great place and it inspires me. I'm very happy here. I'm happy to be involved."

* Images from William Scott Gallery and Miller Block Gallery