Observations in Nature
Connie Scanlon
An Online Exhibition Series Exploring an Artist's Journey with Nature
Scanlon often magnifies botanical subjects to emphasize a plant's form and color. She romanticizes the common plant, following its evolution through a color journey. As the story builds, we climb into the fruit's anatomy, maximizing our appreciation of the shrub normally looked at for consumption by humans, animals, and insects. Here we focus on its architecture and hues which speak to the wonder of the natural world. One lingers in thought after seeing her paintings, reminding us of the power of masterpieces. Scanlon joins a highly selective group of contemporary master painters who comprehend the gravitational pull of art through a sumptuously honed, distinctive, authentic, and ultimately exquisite style of plant portraiture. You may click on each image below to view larger versions. Please visit the artist's page after the story for new, available work. Prices upon request.
What were the early influences and inspirations that drew you to botanical art? At what age did this discovery begin?
From Maria Sibylla Merian's
Metamorphosis insectorum surinamensium, 1705
I was fortunate to receive a year of art history training in 2001, allowing me the opportunity to give tours to school children at the Minneapolis Institute of Art. It was there that I was introduced to the works of Maria Sybilla Merian. I was intrigued by her sense of adventure, but most importantly by her art. She told incredible stories about botanical subjects through the information that she included in her paintings. This was important in the 1600's as a means of teaching others about new discoveries and I was captivated.
Does the country and place you live in influence your stylistic interpretation of botanical art?
Scanlon's Two Raspberries
I was born in a small farm community in Wisconsin. That must be why I am rarely excited about tropical or exotic plants. Maybe I am too practical. My greatest inspirations are from edible berries, centennial oaks, and “every day” plants that somehow look more beautiful than ordinary. In painting them, I try to give them the second glance that they deserve.
As you are defined as a botanical artist, what does this mean to you? The categorizations of botanical art as scientific and illustrative force a different conversation, can you speak to contemporary botanical painting as fine art and how this shapes your work?
Two Blackberries
I can appreciate and greatly admire the detailed information of scientific botanical art, but it has never sparked enough interest to create it myself. I want to have the necessary botanical information accurately presented with a twist; the capture of unexpected light or a subject that is imperfect. When I think of botanical art as fine art, I think of Vermeer with his amazing use of light. The beauty of light can create drama on any ordinary subject, whether it is people doing everyday things or random botanical subjects as simple as a leaf.
What subjects do you return to again and again and why? Do you take risks when choosing subjects?
Heirloom Blueberries x 5 magnification
I have an innate affinity to the color of blue in nature. I return to painting blueberries whenever I need “my fix”. I like to think of them as my “Monet haystacks” because I never tire of painting them. My most recent accepted piece in the ASBA Annual International Exhibition was a risk and challenge. It is a poppy at the early stage of opening in my least favorite colors (orange and yellow). I will however, paint anything (even if not blue!) that makes me feel that sense of fingers tingling, awe-inspiring excitement.
What do you want people to think, learn, or know from your work? Do you think it is important for the viewer to understand the context of the subject such as where, when, and how you found, observed, and sketched the work?
Opening Night
I want people to know that I loved painting this piece. If I can't say that, it would most likely not be completed. Beginning any painting carries the uncertainty of whether I can make it become the way I envision it. Do I have the knowledge and skill, patience and joy to pull it off? One of my favorite things is when a piece is accepted into the ASBA Annual International Exhibition, because it is then that the artist is requested to write the “Artist Backstory.” I love writing about my work. This always makes me take the time to really look at the art once again, to remember how I felt painting it, and why I feel a close bond with it after months of painting. I have enjoyed reading what others have written about their accepted pieces through the years. It usually enlightens and makes me appreciate the piece of art even more.
Describe a challenging subject you have conquered, lessons learned, and how it affects future projects.
Cranapples x 6 magnification
I usually take a subject matter and make it much larger than life size. This allows me to create and truly enjoy the great details that are too often missed by a casual glance. However, enlarging the subject also brings with it the feeling of exposure. Botanical accuracy is even more imperative because there is no place to hide!