Specters / Bloodwrath; At my end I will take you with me
Graphite, acrylic, colored pencil on paper
60" x 48"
Feral is a term referring to a domesticated creature that has returned to a semi-wild state. In a way, a hybrid state of being—not truly wild, no longer domesticated. I related that to the work I was doing with lady centaurs, themselves a hybrid of woman and horse.
While in graduate school I received feedback that people had trouble relating to the centaurs since they didn’t reflect their own human bodies (unimaginative, no?) so I decided to take that wildness and hybridity I depicted through the physical body of the centaur into a fully human body having gone feral. A major influence on this work is my first entry point into this theme: young adult novels featuring a girl who has isolated herself from society, lives in the wild with an animal companion.
I have had a life-long desire to live in one of those narratives, and I do realize it is slightly silly but I am sincere in that longing. My journey to and stay on Asseateague Island with my cat was my attempt to access a bit of that world. The trip resulted in a body of work Dawn Horse. The drawings in that work reflect the iconic images on the cover of such novels, often the only image in the whole book, their function is to only tell part of the story.
Graphite & watercolor on paper
20" x 20"
OPP: Hearing a child-like voice narrate Centaurides makes me curious about what you liked to draw as a child. What were your early sketchbooks like?
MS: Ha. Yes they weren’t too different from now. Animals, girls/women. More penguins (I was into penguins way before it was cool). My brother and I grew up drawing while we watched TV. Our parents were/are artists.
My junior high sketchbooks featured pencil drawings of awesome punk girls playing guitar. Lots of piercings, Mohawk hairdos, Tribe 8 shirts, L7 tattoos. The boys I knew were into drawing dragons, wizards and punk dudes. They always had trouble getting that we were into the same things. The gender difference or concept/awareness of gender (dragons vs unicorns) was so huge they couldn’t see past it. Not to mention they were intimidated by my skills. Lame.
I dunno I’ve always liked drawing mice. I guess I’ve always fell somewhere between Beatrix Potter and fantasy novel art. Which may explain my limited successes.
digital videoOPP: Your arctic-looking house cat plays a prominent role in your video from your Barrier Island series. In reviewing images from your subsequent solo show, Dawn Horse, at Lump Gallery in Raleigh, NC, I noticed at least three other pieces that include visual references to your cat; one that even lists “my cat's fur” in the material list. Can you speak about the role your cat plays in your artmaking? Where does your house cat fit in your work’s relationship to real and imagined animals like centaurs what you describe as “similar hybrids”?
MS: Well I’m glad someone is reading my detailed descriptions of media. Yes that is my boo. His name is Sid and he has been my dawg for 18 years now. I’ve always tried to let him be a cat and as wild as he wants to be.
Once I took Sid to hang out in a park in Pennsylvania (where we both were born and raised) after an hour or so of us just chillin in some woods he started loosing control. He ran around, ate some rabbit poop and got this crazy look in his eye—shiny and wild, like he didn’t recognize me. There are moments—the realization there is no leash and he can run far, when he is at the top of the tree and is considering leaving me—when I dare say he is hearing the call of the wild. Those moments were fascinating and frightening. I related to them and was inspired by that to make this work.
As I mentioned earlier I wanted to live like the characters in my favorite novels—Reindeer Moon, Julie of the Wolves, Island of the Blue Dolphins. These characters all had a faithful friend/sidekick who was a non—human animal. I had Sid. And I wanted to see how feral he would go. So we went to Assateague Island to get weird.
Also I mainly make my objects out of whatever I have around with a nod to the materials used by and usefulness of the characters in those novels. Often they validate the killing of animals by using all of it’s parts. I don’t really kill anything for parts but do want animal parts in my work. Sid has plenty of fur to spare. And he and I are linked in a way that it adds meaning and magic to work parts of us into objects.
OPP: Your drawings of animals, centaurs and similar hybrids are often incredibly detailed. What kind of research goes into creating each piece?
MS: Hmm looking at books— field guides, pony guides, Equus Magazine. Reading about how their parts work. I also spent time with and photographed my aunt’s horses. Observing creatures in the wild or growing up around them helps. Just getting to know them. Repeatedly sketching. Honestly I have one trick that I think works best but I consider it a trade secret. Let’s just call it “becoming animal” because I like phrases that sound like the cover of hilarious fantasy novels.
MS: Sure. The Endangered Species Print Project, according my collaborator Jenny Kendler, is our brain-love child. We both have strong feelings about conserving biodiversity on this planet. We had been fumbling around looking for a way to use our artistic talents and skills to benefit a cause we cared about and to make an impact. ESPP is our best version of those efforts. ESPP sells limited-edition prints of critically endangered species. Prints are editioned to reflect the remaining population count of the species depicted. For example, there are only 37 Seychelles sheath-tailed bats remaining in the wild. So only 37 prints of my drawing of this bat will ever be made. Currently 100% of the proceeds from print sales are donated to a conservation organization working to conserve the species on the front lines.
When we started it was only Jenny and me. We have grown to include many guest artists, a blog, and an ESPP extended family which includes artist Christopher Reiger, OtherPeople’sPixels, who sponsors the project, Michael Czerepak of the School of the Art Institute (SAIC) Service Bureau who masterfully prints our work (and who asked me to marry him), and P.O.V. Evolving in Los Angeles, who handle our large print orders. Our work would not be possible without the help of the conservationists and organizations that we partner with nor without the many people who buy ESPP prints!
How it relates to my work as an individual artist? Well, for awhile it has taken over most of my studio time! Jenny and I do ESPP in our spare time. It quiets questions that may interrupt my concentration while drawing like “Why didn’t I go back to school for mammology instead of studio arts?” and “Shouldn’t I be doing something less selfish than this?”
OPP: What are you working on now?
MS: I’m in one of those stages were I am doing lots of little stuff, working up to the next big thing. So I’m slowly working on some books, maybe they fall into the graphic novel category with the chimp hybrid women I was drawing a few years back, I still have a few paintings to make to round out the Dawn Horse work. I’m also working on a collaborative project with artist and pal Tory Wright. I’ve collected a bunch of video and text to make a new narrated video, but at the moment I’m planning the piece to incorporate a good amount of hand drawn animation so I predict this will be a years long project. I’m fascinated/jealous of large predators so I collect pics of them on my blog Megafauna .
I’m moving into a new studio soon so I’m looking forward to that! Honestly, I’m designing my wedding invitation. Is that lame? So far it features an eagle, a hawk, a peacock, a fox, a bear, a badger and a hare. I think someone else but I’m not sure. Oh! That’s right a slow loris.