On the Intersection of Craft and Fine Arts: Who is Sharon Allison?
On a beautiful sunny June day, Sharon Allison sat with me outside Ria X Gallery to introduce herself and discuss her first solo exhibition, “Safe by Night and Day,” opening on August 5th. Allison radiates the folksy, bright, patterned aesthetic of her paintings and punch needle pieces. Packed with high contrast patterns, a primary color palette, and simple architectural and natural forms, her work reflects a new consciousness of her surroundings. Allison, a self-taught artist, reflects on the influences that have shaped her work, especially the influences that preside within and outside the delineation of fine arts into crafts.
Q: Who is Sharon Allison?
A: “My name is Sharon Allison. I am 34 years old, born in 1988, and raised in New Jersey. I haven’t left North Jersey too many times in my life. I am very much part of the community here. I grew up in the Western part of the state where there is a lot of woods and wilderness. It's like a little hidden gem of New Jersey. I went to Sussex County Community College, where I earned an associate's degree in studio arts. I have taken other workshops through the years that have supplemented my education like with Ellen Dusan and at Peter’s Valley. I would say that a lot of my style, I have developed over many years. Even though I have learned a lot from my formal education, I would consider myself more self-taught. I am very inspired by outsider art and folk art which have informed much of my creative practice.”
Q: What are your interests? What are your influences? What inspires you?
A: “Both folk art and outsider art are major influences on my work. I have always loved the intersection between craft and fine arts. I could never decide whether I wanted to be a fine artist or lean toward the crafts field, so my work sits somewhere in the middle. I collect a lot of arts and crafts books on subjects like quilting, Navajo weaving, art deco ceramics, and Oaxacan folk art. I am also very inspired by Memphis design as well as artists like Natalie du Pasquier and George Sowden for their bright colors and overall aesthetic. I enjoy the influential design period from the 1980s. It translates into my work, especially the Oaxacan influence on Memphis design. The bold colors and patterns on a simple structure speak to me. If I feel like I need inspiration, I lay out all of the books I have collected and create sketches. Because I grew up going to Lancaster with my family, Pennsylvania Dutch Folk art has been hugely inspirational to me. I have always been attracted to the imagery, colors, simplicity, and repetitive themes that are highlighted throughout that region. I am also inspired by Art Clokey, the man who created Gumby. The world he created for Gumby, all very simple with checkers and bright colors, inspires me.”
Q: Why did you choose the title “Safe by Night and Day” and how is it reflected in the work of the show?
A: “Recently I was out thrifting and came across a trivet with a simple, brightly colored house on it accompanied by a prayer. “Bless this house, oh Lord we pray, make it safe by night and day.” It immediately spoke to me. At the time I was racking my brain to come up with a title for my collection and couldn’t help but feel as if I found this trivet for a reason. My collection wouldn’t have been possible if I had not been self-isolating in the home I grew up in, my safe place. I feel as though this is a concept many people can relate to at this specific juncture in time. A period of collective forced reflection. Even though these events made a significant impact on my practice, I’d still like to encourage the viewer to see my work from their own perspective.”
Q: Discuss your creative process. What mediums are you using?
A: “I have always been attracted to acrylic. It is a very straightforward medium that comes naturally to me. I can get my point across very quickly. I have also done a lot of drawing. In recent years, I have made punch needle pieces. I like mediums that are repetitive and therapeutic and that allow me to get into the zone. Both punch needle and painting offer this. I like the sensory aspect of punch needle. It allows me to create something very tactical. I can still achieve the two-dimensional aspect of my painting while creating texture. It is also a medium that speaks towards my interest in the intersection between fine arts and crafts.”
Q: How do you use color?
A: “I am very specific with the colors I like to use. I use mostly primary colors, black, and white. Primary colors are a timeless combination. It translates easily with the forms I use as well as the subject matter. I also think that these colors evoke good feelings and nostalgia.”
Q: What role does architecture play in your work?
A: “I started using simplistic house forms seemingly out of nowhere. It was a simple way to tie in my patterns and colors. This architectural theme showed up for me during the pandemic as a way to express myself. It started with a series of drawings and became part of many paintings. Before the pandemic, I was doing vegetal motifs and interiors. I realize that I was depicting where I live in these newer paintings. My home is very isolated. Placing houses and buildings in an abyss of green is a direct reflection of my surroundings.”
Q: Can you discuss the patterns you use?
A: “I’ve had this treasure trove of patterns that I have been collecting over the years. I have been sitting with them and absorbing them. I use what feels right at the moment. I am very picky and specific. My work is mostly two-dimensional, but I feel my use of patterns and contrast gives it depth. ”
Q: How would you describe your work?
A: “Very simple, very clean. Something that does not need a lot of explanation. I do not title my work because I want the viewer to have an unbiased experience.”
Q: What excites you the most about the work you have created for the exhibition?
A: “I would like this exhibition to what I have been doing for the last couple of years. I feel like the pieces that I started doing during the pandemic all translate very easily into each other. Before I knew it, I had a collection of work. Any new pieces I have made in the past few months were created to mesh any newer concepts I am exploring and push myself a little further.”
Q: What are you communicating and expressing through your work?
A: “A lot of my work is the process of understanding my experiences and surroundings. Art has always been closely tied with my mental health. I feel like that is a very common theme in outsider art. It is like a stream of consciousness that serves as a reflection of where the artist lives and what they are going through personally and societally. I think this collection is a product of its time and place. The pandemic gave me the time to push myself to develop a studio practice. The exhibition is a direct response to self-isolation. Art became my main way of processing my feelings. When I finally finish a piece, I feel like the most complete version of myself. I guess before the past few years, the dream of being an artist felt unachievable. Having the time and space to create as well as the support of my family and friends helped me to develop my confidence as an artist.”
Q: Can you discuss a piece from the show that you are excited about?
A: “There is a piece that I am currently working on for the show. I am doing a larger-scale house piece with more elements of Pennsylvania Dutch design to it. I have this huge collection of Pennsylvania Dutch hexes and it is a dream of mine to produce my own one day. I added a hex element to this painting. I love how it looks and it makes me very happy how it ties in with my other pieces and incorporates my love of folk art. It makes a lot of sense for it to have a place in my work. I am excited to see where that goes as I continue to paint.”