There is a hypnotic quality to Emily McCann’s art. Her use of colour is alluring, drawing the viewer closer.
From a distance it would be easy to assume, mistakenly, that her work is computer enhanced, perhaps even generated using a symmetry function.
Her repetition of motifs, and patterns, executed with a practiced hand, is masterful and . . .
precise. Much of her work seems far too laborious, proportional, and precise for someone to have created by hand.
McCann shared her art and thoughts about her creative process with THE EQUITY on Saturday. “I have always done this,” she said of her mandala-esque style. Early in her life, before she had seen other mandalas, she was creating these pieces. “Art classes in school were tough, because they were trying to teach me shading techniques and whatnot, but all I wanted to do was this,” she said.
When it came time to make career choices, she couldn’t picture herself enjoying rollment in art school, a post-secondary course where she was expected to take foundation courses in a broad-spectrum art program. “I think art school wasn’t a great fit for me, because I just wasn’t that interested in becoming good at photography and a lot of the other basic technique classes they expected me to take.”
McCann has a clear aesthetic — her style is very present in each of her creations. Her work is distinctive, bright, and cheerful. The confidence of her technique seems so obvious and consistent throughout her work, that it was surprising when she expressed uncertainty and doubt about her artistic pursuits. “When I was attending art college, I was really needing to feel like I was making the right choice — I needed just a little bit of encouragement. I think we all need that affirmation, as artists, when we are having doubts.”
Feeling unsure about one’s path is a normal day for most artists. As she worked on her art, McCann sought acceptance from local communities, and reached out to other artists in the Pontiac. Again, she felt discouraged by her reception. Lacking confidence, and convinced of the futility of a career as an artist, McCann relinquished her dream.
But that’s the thing about being an artist — it isn’t a choice. And her decision to eschew art school did not make McCann any less creative. “I still paint every day,” she admitted. Daily practice is partly to hone her skills and stay active, but it is also therapeutic.
Her process is repetitive and immersive. Every piece is complex and involved, layered and planned. “It is time consuming, and I am very careful and precise.” She has an eye for detail.
Holding a recently completed piece of art up to the light, she scrutinized it carefully. “You see, it really isn’t quite perfect, right here, you see this spot?” she asked, pointing to an invisible imperfection.
McCann’s art is not evocative. There is no drama. Words like ‘angst’ and ‘lugubrious’ do not come to mind when viewing her work. And perhaps this is part of what makes McCann’s art so refreshing and enjoyable.
There is no room for obsequious art criticism, layered complication or contrived emotional state. No pretentious lexicon. There is complexity within her patterns, but her patterns facilitate order, create structure, and predictability. There is something reminiscent of molecular modeling, fractals, building blocks.
Over the years, McCann has discovered some techniques that she feels would be useful for those interested in learning how to paint mandala style art. She has been invited to teach at the Stone School, Portage-du-Fort, for artPontiac in the coming year. Anyone wishing to take her class is encouraged to watch her social media for updates: https://www.facebook.com/mccannartt/ and it is also possible to purchase her artwork there.
by Nikki Buechler
