Thank you once again for agreeing to this interview! We are very excited to see your work in our magazine. To begin, how did you get your start as an artist, and what do you think drives you in your present work?

When life started is when I became an artist. I have always been this way; creative, passionate and honest. From an early age I enjoyed drawing and had a curiosity in the macabre, and my interest in horror continues to intrigue and inspire the work I create. Every piece has a motivation to reach the extreme and address the taboo. 

What is your creative process like?

When I create work, my process is to draw several pieces in ink, then paint and color them with the same watercolor palette. By doing this, multiple pieces share the same color scheme and creates a cohesive body of work regardless of subject matter. I enjoy using India Ink to convey a burnt, grunge-like appearance to my work and I often blacken the edges to give the piece a worn, tattered look. I also enjoy working from a dirty palette and reusing dried up wells of color from past works. 

Does the present political/social culture today inform your work, and if so, how?

This situation has presented me with a lot more time to work on new ideas. My technique or amount spent on a piece has not altered much. I have found time to complete pieces like unfinished collages as I find that collage work takes such a long time to arrange that I often abandon them. After abandoning the project I usually realize that the piece is finished and doesn't need any alteration or addition.

What transformative experiences have you had that have shaped your creative output?

I have always been interested in horror and the macabre. The realization that my work is strongest when my focus is regarding morbidity came while studying at the University of Wisconsin Stevens Point. After a few projects in my junior year of college (2014) I developed a distaste for my work, something I never experience. I began working with acrylics and oils, creating portraits and landscapes. I never fell in love with the two mediums and struggled for a bit to create meaningful work. Soon after I dabbled back into something I had always enjoyed, watercolor and ink. Immediately I created a skull that then set the tone for my future work.

Who are your biggest influences?

Tim Burton is my biggest influence.  He is the epitome of German Expressionism in the modern era. I grew up admiring his artwork and enjoying his unique way of storytelling. The illustrative quality of his work inspires my work to be alluring, haunting and grotesque. He creates such strong feelings within so few lines, a true illusion of beauty. 

I also study the art history, the occult, sacred places, cryptozoology, criminology, mythology, fairy-tales and folklore.

A lot of your work is both erotic and haunting. Tell us about the relationship between the two in your work.

All art is arousing at default. I often associate enjoyment of artwork to the Earthly pleasure of lust. I believe there is always a sensual concept when creating nudes and life drawings. I find when drawing the female body there’s a fantasy of falling in love with your creation. Every nude holds an emotional bond with the artist. 

Using black India Ink as the darkest tone allows my work to have a cohesive quality and crisp haunting aesthetic. I usually do not feel a piece is complete without it!  These collections of life drawings are some of my most favored pieces as they represent the beauty in minimalism as well as exploring the admiration of nature and flaws. The use of India Ink and watercolor assists the viewer to observe the Asian aesthetic Wabi Sabi; appreciation of imperfections. 

How has art transformed your relationship with feminism/to yourself as a woman?

My artwork has provided me with a platform to inspire and lead others. I feel comfortable in this field since the arts have always favored quirks and originality. With support of my audience and peers I feel free to embrace my weirdness and liberate freedoms. The arts have encouraged me to never be enslaved to injustice. 

How do you see art, and in particular feminine or erotic art, changing the world?

I do not believe erotic art will change the world since the world has habitually focused about sex. Some beliefs and morals may suppress the urge and iconography of the human body but erotica and the naked human figure will always be the most sought after. 

Do you have any advice for other female artists?

My advice would be to stay confident and passionate about your unique quirks. If you don't know what makes you different, do some soul searching, there must be something that makes you irresistible and distinctive. The unordinary is delicious. Once you master your own ‘muchness’ it will reflect in your work and you'll enjoy everything you create. If you don't, give it a day and you'll probably love it in the mourning. 

Anything else you would like to talk about?

I just returned home from a month-long residency in Lapua, Finland. While there I focused on my work and created over 30 pieces; including drawings, paintings and small sculptures. The deep forests and dark landscape of the Scandinavian Winter further inspired the ethereal mood of exploring the aesthetic within imperfections and the unearthed beauty of ink work and watercolor. I am finding strength in these techniques that imitate the look of nature, implying crisp texture and impression of depth. I believe it is the best way to convey the look and feel of the natural world.

Shannon Elizabeth Gardner is a graduate from the University of Wisconsin - Stevens Point with a Bachelors in Studio Art and a Minor in Art History. Shannon's interest in the macabre began while studying nature and the paranormal. The ethereal mood of her work reaches the extreme and addresses the taboo. Through her process she explores natural and organic techniques used to imitate nature and discover Earth's imperfect beauty. Stippling and cross hatching imitate the aesthetic of change through time. Her use of watercolor, line and dot work assists the viewer to observe the Asian aesthetic Wabi Sabi; appreciation of imperfections. 

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