Shannon Woodford creates multilayered, expressionistic, dramatic snapshots of nature. Working largely in florals, Shannon uses the deceptively everyday nature of her subject matter to explore the hidden depths of their unexpected appeal. She likes exploring as many mediums as possible, and has worked extensively with watercolors, acrylics, and encaustics. Her current focus is in oil paint and mixed-media on canvas. Shannon employs large brush strokes and repeated marks to convey her exploration of the natural world. She loves to stretch her artistic capabilities with the use of a bold color-story, the striking natural juxtaposition of foliage hues, and lush multi-textured layers. Shannon draws inspiration from vistas of imperfect beauty searching out under-sung flowers (or even weeds) to coax forth their raw, wild charm.

Read on to learn more about one of our September featured artists!

Q: You’ve worked in so many different painting mediums. Which do you find most challenging? Which do you feel the most confident with?

A: My answer for both of these questions is watercolor. I feel like watercolor is usually a starting point and the most accessible for people so a lot of people are probably familiar with watercolors but it is very unforgiving. The transparency of the layers doesn’t really allow for a lot of correction you have to have a lot of control and forethought. I would also say that I feel the most confident with watercolor because that’s what I’ve worked with the most. Oil is relatively new to me. I approach oil mediums in an unconventional way because of the newness and my comfortably with watercolors. I work with a lot of thin layers and washes, sometimes even in the final stages of my oil paintings, which is not typical of the medium.

Q: Do you have a favorite painting tool or object in your studio?

A: I like to work with bright or short, bristle brushes. I really like the control and stiffness. I also like to work with very large brushes, the ones that you can find in the hardware store for painting trim. I like to use the largest brush possible even for smaller paintings.

Q: Can you take us through your painting process? How do you start a piece and determine the scale of the painting? How do you know when a painting is complete?

A: I am always thinking about painting. I’ll notice things throughout the day that I find interesting, something that draws me to try to re-create it. Whether that’s just a shadow or a certain shape or light is hitting a leaf for a petal. Almost always something organic.

The scale of the painting isn’t important to me, but I will always go for the largest canvas I have available. The bigger the better for me. I work very loose and intuitively from my memory, trying to recreate the balance and structure of the image that inspired me. It’s important that the first marks are just and loose and chaotic, it gives me something to work against or try to resolve on the second visit to the painting. I find that working to correct or adjust these first stages of the painting, creates a lot of tension and interest to the final product.

Q: Do you have a favorite artist or artists?

A: I’m inspired by many contemporary working artists. I really enjoy observing their work change through the course of their career, making small adjustments in their pallet or signature marks. I find that to be very interesting. If we are talking about the old masters, there was always something about Gustav Klimt that really drew me, his subjects and vibrant palette. Also a huge fan of John Singer Sergeant. But there’s so many, it’s hard to choose a favorite.

Q: What is your studio routine like? Do you like to listen to music or podcasts?

A: I am trying harder and harder to push myself towards a schedule, the last few Large releases that I had I planned out what pieces I wanted to have done week by week and then try to stick to that. Ultimately, I’m going to come in every day and just work on what I feel like working on because I find it’s best not to try to push working on a piece if I’m not feeling it . Sometimes I’ll start a painting and then it has to sit for months before I can finish it, but I find that the paintings that I struggle with longer, the ones that are harder to resolve, usually end up being my favorite in the end .

In the studio, I listen to music. I’ve tried podcasts, but I find I move a lot slower. The genre is either going to be indie folk or early 90s grunge (please no judgment)