Congratulations to Aubrilyn Forson for earning her place as a Finalist in the Boynes Emerging Artist Award 7th Edition!

Who are you?

I am originally from Oregon and have always had a love for the creative arts. Juggling choir, theater, and art since my teenage years, my interests were always peaked by any creative activity. During high school, I found I favored visual art as I have always found comfort and relaxation in the process of creating art. I enjoyed trying new mediums and this love of art classes eventually transferred into my college experience. Once in college, I narrowed down a major and was repeatedly told art would lead to nothing financially. So I kept trying to ignore my interest in the art electives I saw. Eventually, I couldn’t resist and signed myself up for some art classes.

After my first semester, I had been caught by the tantalizing draw of art again and decided to declare myself an “Art Education” major, as this was in my head, “safe.” I was advised to take studio courses early and took a sculpture class in my second semester. It was an instant hook. Through the wonderful encouragement and support of a professor, I developed my skill in sculpture and was no longer interested in the education portion of my degree; I decided to switch to the Bachelors of Fine Arts program.

I was exposed to professional artists early on and through these connections was able to intern with some sculptors during a break in school. This opened my eyes to the reality of living as a professional artist. I went back to school with a better understanding of what I needed to improve upon and what I still needed to learn to make this dream a reality.

What inspired you to utilize sculpture as a medium?

I have always felt drawn to portray portraits within my art and found immediate relief when attempting a portrait in clay. I struggled to depict a portrait in 2D, but when confronted with creating a 3D bust, something clicked and made sense. It seemed easier to build up the form in the 3-Dimension, rather than dealing with the illusion of the 2-Dimension. It was as if a giant wall blocking what I had always wanted to depict was cleared and I could finally get to the art behind it. I still draw and paint somewhat, but I find that I can work things out better in the 3-Dimension, and feel more meaning conveyed by an artwork that is physically in our tangible space.

How would you describe your work?

My artwork stems from a combination of interests I have always held- greek mythological art, and fairytales. My artwork is a nod to the great greek sculptors of the past in their attempt to understand the anatomical side of the figure, whilst also depicting their own mythology and fantasies. In a similar way, I strive to understand the anatomy of the human figure, while depicting the whimsical tales I knew as a child.

Can you discuss the inspiration and thought process behind "Her Red Hood"?

“Her Red Hood” is the first of a series of sculptures inspired by the fairytales I’ve known and loved my whole life. Since I was a child I remember traveling to my grandmother’s house and after greeting my grandma, of course, running throughout her house in search of the big book of fairy tales she kept. The book’s cover showed fairytale figures clad in gold, walking through a glowing golden forest. Within the book were illustrated retellings of classic fairytales I would read constantly.

The pairing of these beautiful illustrations with classic fairy tales began my lifelong infatuation with fairytales. Eventually, this interest extended to the myths of the ancient Greeks, and I realized the similarity in depicting our culture’s fantasies in art. “Her Red Hood” is the first in an attempt to begin portraying our tales in sculpture, as the greeks did with their mythology. I’ve always loved the academic yet whimsical nature of the renaissance and greek sculpture, and I want to depict European fairy tales in the same light. Similarly, the decision to paint the portrait in full color stemmed from the knowledge we have of the ancient greeks painting their sculptures. The color of the illustrated fairy tales was something that drew me in as a child, and it seemed only fitting to include that feature.

Can you walk us through the technical steps of creating "Her Red Hood"?

The portrait began as any other with the building up of the facial structure in the chosen medium of water-based clay. Once I had the facial features well enough defined I went into building up the hair and figuring out the hood. I knew the hood would add a lot of clay and potentially weigh the bust down too much, so I actually built the back portion of the hood hollow, to ease the weight until I could hollow the sculpture out. I had determined to fire this piece in the kiln rather than make a mold and cast it in another substance.

So once completed, I proceeded to slice the top of the head off which horrifies anyone not expecting it. It’s necessary and fixable, and honestly my favorite part of working in water-based clay. Once the sculpture was opened further I hollowed it out, then slip and scored it back together. I love this part because it reminds me that my medium is just clay; it can be fixed.

Most importantly though, it reminds me that my pieces aren’t just made by luck and that if I sculpted them before, I have the ability to sculpt them again. From there the piece was fired and then painted in layers of acrylics. The final step was adding more saturation to areas with colored pencils. I love the textured marks made with colored pencils and even if it isn’t recognized by all, it is a personal nod to my childhood art supplies.

What do you hope to communicate to an audience with your work?

I hope to communicate the whimsical fantasies we read as children but in an academic light. I think so many people revere the art of the renaissance as the best ever seen, which I would agree with, but not many dive into the stories they depict. I hope that by depicting known stories, the technical aspects of the work will be appreciated and the story will be understood and seen in a different light.

Have you experimented with other mediums?

I have, I’ve experimented with many mediums. I’ve found besides sculpture, my other great love is oil painting. I have joined the two before, finishing a sculpture in oil paint, though not in the full-color style I’ve discovered recently. I plan to experiment with it once my next piece is done, and I expect I’ll enjoy the saturation one can achieve with oil paints.

Can you talk about your biggest learning experience during the process of creating your work?

The most significant learning curve of this piece was the drapery of the hood. That was difficult and new. I haven’t spent much time focusing on clothing folds and how to sculpt those as I have the face and figure. There were some awkward spots that I’m still not thrilled about, but also some very nice folds that I was quite fond of. In all, it showed me I need to do some isolated studies on drapery and how different materials lay.

Can you discuss your biggest success since starting your artistic journey?

Within my short career, I recently won third place in a show at an art exhibition in Idaho. The show itself was not ridiculously large, nor was the prize incredibly grand, but this was the first show I had applied for within what I’ll call “the real world.” Prior to applying to this show, the only other art shows I had submitted works for were run by faculty members of the school I attend. While they try to be impartial and objective, I am also one of the few sculpture students in the program, so any recognition from these shows feels a little less competed for, in a sense. To not only have work accepted to a show put on by an outside organization, and then to place and receive an award from the juror was exciting and relieving. It was like I had been given the subtle nod of acceptance by the outside art world.

What projects are you working on currently? Can you discuss them?

Currently, I am continuing my vein of fairytale work. These will become my senior BFA show pieces. I have two in progress, one of Thumbelina and one that will be of Sleeping Beauty. (pictured)

What is your dream project or piece you hope to accomplish?

Someday I want to sculpt a figurative piece in marble. I don’t know if it would still be along the same subject vein, but sculpting in marble is the ultimate accomplishment for me, within the field of art. I’ve already surprised myself with my ability to sculpt clay, and it’s made far-off ideas like sculpting marble an actual reality I could work towards; I hope to someday.

As a finalist, do you have any advice for artists who want to submit to awards, competitions, residencies, etc.?

My advice would be to look early and submit early. I don’t mean early to the submission deadline necessarily, but I mean look and submit earlier than you may think you’re ready for. I haven’t graduated from undergrad yet, but looking for competitions now, (especially recurring competitions such as the Boynes Emerging Artist Award) has shown me what to expect when I graduate. I won’t only be competing in the art field for jobs or shows with other students, but with other professionals as well. And putting off this reality would only hinder me, especially since I’ve surprised myself by getting awards or being accepted as a finalist. Apply now as soon as you have work to apply with.

Lastly, I like to ask everyone what advice they would give to their fellow  artists/photographers, what is your advice?

My advice is to change pace when you aren’t excited by your work. If an idea isn’t exciting, find a way to change it, or find a new one entirely to work from. I’ve let myself go too long on ideas that I’m no longer thrilled about and the results are never thrilling either.

To view more of Aubrilyn Forson’s work

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