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Daily Inspiration: Meet Shayne Mitchell

Today we’d like to introduce you to Shayne Mitchell.

Hi Shayne, please kick things off for us with an introduction to yourself and your story.
For as long as I can remember, drawing has always been apart of my identity. The fixation of being able to replicate something and call it your own was always captivating to me. All throughout school, I noticed art classes were the highlights of my day, so naturally as soon as college arrived, I concentrated on the arts. My affinity for drawing evolved into painting by the end of my undergraduate studies and has been with me ever since.

I currently possess two art-related associate degrees and a bachelor’s degree in studio art with a minor in art history. I have great gratitude towards the like-minded peers and mentors I have met along the way towards my education. Anna-Marie Veloz, Brad Spence, Jane Chin Davidson, and Alison Ragguette were my prized mentors and taught me more than I can ask for. Teaching by example and opening my horizons were not only beneficial to my craft but also for my well being by supplying me with the confidence and fortitude I needed to make art. As of today, I am living in downtown Pomona with my fellow painter and lover, Alexandra Garcia in a live/work studio space. Between painting and inspiration, we only try and stay afloat from this precarious existential path we have chosen.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
My challenges range from the tangible and intangible. Vouching for the validity of the obstacles arising from mental instability can be somewhat abstract, but as an artist, concerns of stability tend to get pushed away. Implosions are avoided through impulsion and stagnation released by incentives.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
Art always has potential to say something, and for the good or bad it can unconsciously direct you into a certain path of thought. My first body of works used these notions to attempt a unification between binaural oppositions. I used methodologies of op art to create certain illusionistic patterns that were composed of black and white. These black and white patterns would start to breathe and merge with one another when engaged with, blurring the lines between these essential binary opposites. Each work in this series was extended off the canvas or frame where the radial pattern originated from, further blurring lines of when the artwork begins and ends. My goal for this series was to influence a type of deprogramming of notions of over-simplistic means of categorizing everything around us. The next series In line was my transcendental works which I attempted to illustrate the place in between black and white notions and explored the true unity of everything. Recently I have been moving towards more representational works with similar goals in mind but juxtaposed with more readability. I thrive to continue to learn and grow myself while condensing my work with meaning and understanding.

What would you say have been one of the most important lessons you’ve learned?
One of the most important lessons I learned was not to be attached to your work. I like to allow my paintings to be free after completion. Implied meaning and intention can be fleeting in this ever-changing climate of things and if everything is always changing then why should a painting or any other artwork be exempt? One must just hope that someone can find something within your work that can penetrate that eternal spark.

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