Interview: Allyce Wood

At first sight Allyce’s drawings made me think about ghostly things. Something about her work reminds me Miyasaki´s Princess Mononoke. I love the intricate textures and structure of her work, also she have a nice vibe.

I’m not into formalities lately that´s why I ask her simple questions to know her. This interview is a sneak peek into her thoughts and work.

Don’t forget to take a look of her work at: portfolio, tumblr and instagram

01-) The first thing I noticed on your drawings was the detailed and intricate textures. At first sight I thought you was biologist with some art studies. Could you talk about your education background?

My education is in art — at university I studied printmaking, sculpture, and environmental art. (Etching’s detail-oriented process has tied me to a very complex aesthetic.) Myself personal interests include biology, earth sciences, and ecology, which I reference both conceptually as well as source material for abstraction.

02-) Your drawings seems like a labor of structure and control. What is your typical work routine? how much time does it take one of your drawings?

For nearly every drawing, there is a quick underdrawing in which the physics of the imagined objects are laid out. Depending on the size of the work and the number of interwoven elements, these initial layouts take very little time and take out a lot of guesswork when I move into the formal version. Once I begin the final drawing, I usually work in layers to adjust gradations systematically and to best utilize either my watercolor palette or grease pencil; when using colored pencil I usually draw from left to right to preserve the line. Each piece takes a good amount of time to do, the 8” x 10” drawings take a minimum of six hours each, and that is without considering time spent making material selection and tests. I take pride in clean surfaces and tight control as that lends plausibility to the entirely made-up forms.

I make an effort to draw or write something everyday, but take breaks when I find myself becoming too repetitive. There needs to be space for new ideas. I fall into a more severe mode of production when I commit to larger pieces, often using as much of my spare time as possible.

03-) You live in Seattle, a coastal city with oceanic climate. I feel curious in which way the climate and environment influences your work.

Seattle is great for its moderate weather. We’ve had an unusually hot summer which has made staying in the studio really challenging. Usually grey skies and cool temperatures make indoor activities really pleasurable, and having the excuse not to go out because of rain is great. I live in the downtown area, so 90% of the time I am surrounded by a completely grey environment (the concrete and the sky) which shows itself in my work in how I often use the slightest touches of colors (usually blues and greens) as even minimal accents become focal points.

Seattle has a lot of jokes about their artists’ trends, about the typically solemn, naturalistic subject matters (we are ringed by coniferous forests, including the Hoh Rainforest) and limited palette: we love our dark shadows and flashes of green.

04-) Also I want to know where your influences come from?

My influences stem from my own observations of the natural world and the society that surrounds me. ‘Meanderboard’ was definitely my most introspective body of work. I considered my personal actions and my long-running dedication to art and its construction. Past projects were more based on my relationships to biological specimens through tactical nostalgia and research. News stories, ecological discoveries, changing landscapes, and industry are all topics that funnel through to become important references.

05-) And your core interests?

I am primarily interested in sharable experiences. Material considerations and the design of a piece is hugely important to me: if there is nothing for the viewer to focus on, there is no reason to interact. Plausible yet non-functional subjects are fascinating in how they invite questions.

The question of humanities role within/against nature is one that compels me. I am born to this world like any other organism, yet the earthly consequences my societal involvement are unfathomably great. Questions regarding responsibility, consequence, and nostalgia for less-intrusive lifestyles are a great proponent of my work.

06-) When you sent me the Meanderboard ́ material you added a text, a kind of automatic poem with working steps. It important to you write things, steps? could you consider writing as artistic practice for the future?

The prompt to include writing in ‘Meanderboard’ was a gift from my collaborator and fellow artist Diana Lindbjerg. Writing has been a tool for personal clarification, and this step to include it as the work was a new move that would have been impossible without her support. Since ‘Meanderboard’, poetry has become a cornerstone of my process, and has been utilized in projects such as ‘Speck on Speck on Speck’.

07-) How important is your relationship with time? could you consider your work time-based?

Time and endurance are both elements that I consider when creating my work; it is not mandatory that I create work in such laborious methods, but am unwilling to change. At this time, I consider time to be a surrounding factor to my practice rather then a considered element.

08-) Do you have plants, pets?

My husband and I have a nice selection of indoor plants including succulents, rescued aloe vera’s, an ancient palm tree – our prized mango tree is not doing well, but our pineapple is growing! Someday when we are more responsible, we will have cats.

09-) What about your musical taste, what ́your favorites bands or musicians?

Uptempo music is great for when I am in high production mode, working through a lot of physical action such as when I am making elements for installation. ‘Casio Kids,’ ‘The New Pornographers,’ ‘Fever Ray’ help. I need a slower, clam pace when drawing, so usually listen to podcasts like Radio Lab, 99% Invisible, and select NPR shows. I listen to standup comedy in my spare time; Maria Bamford is my favorite.

(Music questions are always great fun for me to try and answer – Seattle prides itself on being a music-oriented city, but I’ve never felt that connected. As you can see, trends and keeping up with new artists aren’t really a priority.)

10-) Any plans for the next future?

Right now, I am trying to refocus. I have had great opportunities to create a lot of work that really interests me, but always at a rushed pace. I want to see what kind of work I make without additional pressure, to see if I can solve some fussy technical problems I see in may work and expand my visual language. I would like to both come to the strict heart

11-) Date and place of birth

7-24-1988, Seattle, Washington, USA

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Meanderboard is available for purchase at: https://lasinjurias.com/product/meanderboard-allyce-wood/