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Emilija: Today on the Podcast I Will Be Talking to My Friend Shawn Mccann, Who I Met at the Sarasota Chalk Festival in Florida Last Year

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Emilija: Today on the Podcast I Will Be Talking to My Friend Shawn Mccann, Who I Met at the Sarasota Chalk Festival in Florida Last Year Back to the Drawing Board Podcast Episode 005: Handmade Work and the Power of Experience with Shawn McCann Emilija: Today on the podcast I will be talking to my friend Shawn McCann, who I met at the Sarasota Chalk Festival in Florida last year. He is an artist that creates street artwork, chalk artwork, murals, fine art, children’s book illustrations and commercial installations. He truly does it all. I think you even have on your website, I saw, you teach art, is that correct? Shawn: Yeah. I do some workshops with students. Actually, at the beginning of this week I was doing some chalk workshops with some students in North Dakota, but unfortunately, we got rained out yesterday, so. I try and visit the schools as much as I can and get the next generation of artists excited about creating some work. E: Awesome. So, you do do it all. Shawn also travels around the US and internationally to participate in festivals and create art. I was specifically interested in having him on the podcast to talk about the way companies are using local artists to brand and market themselves and the rising value of handmade work. When we met last year I was surprised, you know that was the first time I attended a chalk festival, and I was so surprised that there was a whole group of artists that do that for a living. You just travel around to different places and make art. So, I want to start by asking how does one go about becoming a travelling chalk artist? S: Well you had the same experience I had about 12 years ago, because living up near, living up in Minnesota, near the Canadian border, I didn’t know there was a whole another group of people out there as well. Up here there isn’t a whole lot of opportunities because it’s cold most of the year, so it’s one of those things that, you know, as any craftsman you need to kind of perfect what you do and start learning how to do that kind of art, whether it’s murals or the temporary art with chalk. It’s all about kind of getting word out there that you are doing this and as you start feeling comfortable with what you are doing, and you are starting to put something out there that is something people are interested in seeing, then you can start applying to festivals. Which happen all over the world, it’s not just in the US. A lot of the festivals have funds available to help bring in artists from other states and other areas, so it’s a great opportunity to not only go to another place and work and create, but you also get to meet all the amazing artists that are creating as well. I found that the chalk art family is such a giving and caring community and any one of them you can got up to and ask about technique or style or how to create something better and help each other. We are constantly learning from each other, so that’s what makes the festivals so amazing. E: Yeah, I noticed that the artists there were very genuine. Even though it was my first time I felt very welcomed. S: Yeah that’s one great thing about it. You’re always welcome at the events and it doesn’t matter what state or country you go to, it’s an extended street art family. It really makes it wonderful, especially when you are in another country and don’t necessarily speak the language, it helps to have people who are willing to make your time there even better. E: Right. You did your undergrad in art? S: Yes. I went to school for illustration. 1 Back to the Drawing Board Podcast Episode 005: Handmade Work and the Power of Experience with Shawn McCann E: Awesome. And then what happened after that? Because I don’t know if you know, but I’m currently kind of in that stage, so I was wondering if you were drawn into street art right away versus the typical make art in a studio and display it in a gallery? S: The first few years after graduating was solely about trying to become a commercial illustrator type of thing, and I was also doing a lot of fine art. I had done a number of gallery shows out in the Midwest and also out in New York City. And kind of fell into street art totally by accident. Somebody had seen a painting of mine that I had done and there was an opening for a new mall out here in Minnesota, and they asked if I could recreate one of my paintings on the sidewalk in chalk. Well, I had no idea what that would look like. I told them though, I can try it, be a guinea pig and see what happens and absolutely fell in love with the kind of nature of working outside with an audience. There were a few things, like I totally didn’t realize you need knee pads working on the street. That would have been something good to have known ahead of time. Overall it was a complete accident that I fell into what now is my main business. E: So, the fine art that you made before that one opportunity, had you used chalk before? S: No, not since I was a child. Since I was 3 or 4 years old making a mess on the sidewalk. It was a completely kind of new element. I had done a little bit of pastel in art school but really didn’t use it for any of my mediums for my books, illustrations of paintings. It was a huge learning curve and thankfully I was able to do it in the quietness of the Midwest here, where I wasn’t at a festival with 50, 000 people watching me, to see if this was going to work or not. At the same time, it was one of those things that for some reason, as soon as that pastel hit the concrete I was hooked. I knew I needed to do more of it. I just didn’t know what that meant. E: That’s very brave of you to take on that project even though you weren’t very familiar with the medium. S: A lot of things that I have done that have lead to amazing opportunities, sometimes you have to take a little bit of a risk and give yourself the notion that you can do something. You might not always be comfortable doing it, but you will find a way to make it happen and that is definitely one of those times that I’m glad I did. E: I know I’m familiar with chalk and I’ve used it quite a lot. I’ve also used it in my thesis show for graduating, but like I haven’t really used chalk on cement before, not only when I was a child maybe. Now I’m super nervous to do that, being familiar with the medium, so I can’t imagine what you went through. S: It’s something that you just have to get over that fear. I think that it’s something when we get into grade school so many, when we are young we’re doodling and chalking on the sidewalk and nobody is really thinking about how it’s turning out, you’re just having fun doing it. Then when you hit grade school there is that small group of kids that keep doodling and drawing and the rest of the people say: “I can’t do it very good,” and they quit. And I think if we got back to that fun, where you are just doing it to learn and to have fun and create, it wouldn’t be as daunting because it’s just a matter of doing it, and getting over your mindset of how it’s going to turn out. 2 Back to the Drawing Board Podcast Episode 005: Handmade Work and the Power of Experience with Shawn McCann And you’ll find a way to do it. As any artist that works in mediums, you’ll have a little bit of that learning curve, but eventually you kind of pick up the swing of things. E: That was another surprising thing that I noticed at the chalk festival in Florida. There were spots there for amateur artists, people that might have never done chalk art and they were able to participate and just do it just so that they could get the practice. And I thought that was amazing. The festival didn’t just show well-established people that knew what they were doing. S: Yeah, that’s become a really important thing. I know with the festival that I run here, we really want to help bring up that next generation of street artists that are kind of learning about the street art and chalk art, and want to learn about but don’t have the opportunities. So, keeping those areas available so that they could chalk as well. And then getting the public involved as well, with families and kids. We found that doing community mandalas are amazing, because they are like giant coloring pages for people. As long as they don’t have to worry about their own piece, and can blend in with the rest of the people working on it, it’s amazing how many adults and kids, will jump in and start adding color to a huge mandala, versus if you give them their own little square.
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