Interview w/ Shannon O'Connell

Mason Gross' printmaking artist Shannon O'Connell came to the University with a strong interest in drawing. She later found herself intrigued by the art of printmaking. Within this medium, Shannon's primary subject matter for her work revolves around non-human like creatures, which she call monsters. Her depiction of these monsters have evolved during her time at Mason Gross. From cute and cuddly to sinister and expressive, the attention she dedicates to each subject in her pieces help to give a sense of life and understanding not only to her work, but to each individual character as well.

[Darence] What got you into drawing non-human creatures?

[Shannon] I consider them monsters. Originally I started drawing them because I didn't have to draw from a still life anymore. Almost as a form of rebellion. I just wanted to have the power to create these beings that don't exist, and make a little world for them.

[Darence] When creating a monster, is there a specific outline or process that you follow?


[Shannon] I usually start from a random point of the face, such as teeth or the eyes. Even a claw or such. But its usually from there the monster begins to spawn off. Even the human figure can contort into weird positions. Its the oddities in anatomy that help to branch these monsters into creation.

[Darence] Are there any practicing artists that pose an influence on you?

[Shannon] Actually yes. Alex Pardee. He's a painter who makes these bizarre creatures that are so unlike anything I've ever seen that seem to have a life and world of their own. As a kid, Tim Burton, of course a person that is so strange. As for print-makers, Trenton Doyle Hancock have a lot of creatures and oddities in his prints. From the classics, Francisco Goya works with a lot of monsters. He's a very fantastic print-maker.

[Darence] In your pieces, I notice a beautiful use of expressions even on monsters without faces. How do  you go about creating the emotion behind each piece?

[Shannon] A lot of the expressions are based off human expressions. For the ones without faces, I try to bring it about in a different way such as the settings around them or by specific chosen colors. I plan to emphasize on backgrounds to help create a world around them to enhance the narrative and the mood in each scene.

So Cute I could Eat You

[Darence] Of the prints you have here, one of my favorites is "So Cute I Could Eat You." How did you come up with that particular one?

[Shannon] I really enjoy elongation, and with that one, there is a lot of elongation within his body and his arms. I feel that ,personally, that's actually one of my most successful pieces. He looks like his body could possibly exist. I liked to draw cute monsters, but then I wanted to get away from that. In that piece, it was one of my most successful attempts of 'getting away' from that. While the monster is still ugly and creepy, I still incorporated the cute monsters in there too. I try to do the exact opposite. With random hairs coming out of nowhere, a big pot belly, I try to think of the grossest things that not many  people find attractive, and put them into a creature.

[Darence] Something I noticed. The human characters that are in your pieces have an anime resemblance. Is that something you purposefully went for?

[Shannon] When I was younger that's what I did, I drew anime. I definitely was inspired by it. While I tried to stay away from it, it's definitely my style. I try to at least enhance it to make it my own, but you can definitely see that Japanese cartoon feel to it. Which is why I can never stay to full realism, because I love the cartoon, fantasy, surreal feeling. Exaggeration in the eyes and elongation, it's knowing that this doesn't exist in real life.


[Darence] It seems your work take a lot of time and effort to bring them to life. Is the process for you more frustrating when creating these pieces, or how do you consider the creation process?

[Shannon] It's definitely more frustrating. It's one of the very few art forms that I have done and cried out of frustration. But at the same time I love it. It's very rewarding at the end because you can work so long on a piece. Something can be printed four times before editing enough to have a final print you enjoy. Just so many things you can work with. Almost like an addiction in the fact, you know it's terrible sometimes, but you absolutely love it.

[Darence] Any ideas for Thesis?

[Shannon] I do. Sophomore year I was asked why do I draw monsters? It took me a long time to think about it, but I realized it's because I don't like to draw normal things. I also realized I dealt a lot with childhood. Which I see makes sense, because when one thinks of childhood, you think of the monsters under the bed and creature that kids believe in. So I'm thinking about my childhood and these creatures I've created. Thinking about something that correlates between them, like an exquisite corpse. That's just an idea for now but it could change.

[Darence]  Which is your favorite type of printmaking?

[Shannon] I want to say it's lithography. Not sure if my favorite is film or digital lithography. Film lithography is definitely labor intensive. But my least  favorite is woodcut. I struggled with it.  I have carpal tunnel syndrome, so it's very frustrating. I just did not have the patience for it.

[Darence] From where your work is now, how do you see yourself evolving as an artist?

[Shannon] I definitely see myself creating my own ideas. I'm creating not only these creatures, but I'm working on creating a more developed space for them instead of them floating in space. I want each creature to have a world of its own. An entire narrative.

Shannon O'Connell's printmaking talents are truly broadcasted within her pieces. By creating her monsters from her imagination, Shannon displays her inventiveness, creativity, and originality in each of her works. From proportions to expressions, she demonstrates impressive detail and effort along with the labor intensive work that is needed to print the works. Shannon's artwork for thesis should be expected to be nothing of the ordinary.