Birthplace: Massachusetts, USA
Current Location: Massachusetts, USA
Company name: Lennon Studio
Websites: www.crowfaery.com/, www.lennonstudio.com,
Dark Eye Glances Katie, among your many other artistic expressions, I noticed you do some fabulous woodcut art, including one of Edgar Allan Poe that sells on Etsy. Do you have a particular interest in Poe, or just his image?
Katie Lennon: Ever since reading Poe in grade school I have appreciated his work, and enjoyed the fact that he was born near where I live in Boston, and was also stationed at Fort Independence in South Boston when he was in the army. It is said that he got his inspiration for the ”The Cask of Amontillado” when he was stationed there. I also have a strong connection with crows and ravens, so of course “The Raven” is a favorite of mine. In my travels I have found that I am not alone in my love for Poe, and thanks to etsy and other similar sites I have sold Poe tshirts to people all over the world.
DRM: You have been a very integral part of the faery subculture/community in the U.S. Can you tell me about your passion for faeries and what that means to you personally?
KL: My passion for faeries began as a young age, and I was particularly inspired by the Faeries book by Brian Froud and Alan Lee. In fact it was this book that set me on my current path as a faerie artist myself. I first saw this book when I was in 6th grade and my school friend Jen had it. Immediately I was enchanted, and Jen and I would draw faeries and look for them, we were fairly faerie obsessed at the time, and would watch Labyrinth and The Dark Crystal incessantly, along with Legend and other faerie favorites.
We were convinced that there were unicorns in the Catskill mountains of New York. We would look for faeries everywhere we would go and I recall searching in Cape Cod near my parents’ house there and formulating our own ink out of berries in a random wild lot and sketching faeries, very magical times indeed. I owe a lot to Brian and Alan Lee, for I would not be on the journey through faerie that I am now if it were not for Jen showing me this book back in the day.
DEG: Would you say there is a kind of dark glamour in faerydom? Is that the romantic appeal of faeries to you…to all of us?
KL: I can only speak of my own experiences and the romantic appeal that faeries have for me. As for dark glamor, when I speak of faeries I am not talking about the bright sparkly Disney type faeries, but of a deeper and sometimes darker brand of with faeries. Back in the day in Europe people had a strong belief in the faery folk, and would do things such as setting out milk to appease the faeries, or appealing to the faeries to help with their crops. There was a healthy fear of faeries, and people wouldn’t build their houses on what was thought to be a faerie path, or they would live to regret it.
They also lived in fear of the changeling children, that the faeries might steal away their children and leave a changeling in its place. As the world progressed and with the rising belief in all things scientific the belief in faeries has dwindled, but that doesn’t mean that they aren’t still there. It is the darker side of faeries that I am drawn to, and the contrast of something that can appear so beautiful can also be something very dangerous.
DEG: What kind of music have you been working on lately? And are you touring with it at all or mainly focusing on recording when you can.
KL: Honestly through the winter I haven’t been concentrating on my music as much, I have written a few songs but I am quite far from getting to the recording process. As for touring I haven’t done so as of yet, though I have had the great pleasure, when I have been at faerie festivals selling my art, of singing with some of the most beautiful voices in the faerie genre including Kelly Miller-Lopez of Woodland and Treguenda, Wendy Rule, and Jenna Green.
DEG: What about your art? What themes compel you the most in your paintings? What are you striving for?
KL: The themes that most inspire me are ones that lead the viewer into a scene and leave them with an air of mystery. I am greatly inspired by the various faerie lore out there, and more specifically for me the faerie lore prominent in Celtic Mythology since I can trace my roots to Ireland, Scotland and Wales. In some of my work I am striving to tell a story, in other pieces just offering up a tranquil setting for people to gaze upon. Most recently I have done a number of pieces around the theme of the Green Man.
DEG: Finally, we come around to your work as a dancer and fire spinner. What is fire spinning, and where does it originate?
KL: I have an extensive history of studying dance, I started taking lessons at age three. I toured nationally as a VIP with Dance Olympus, as well as performing in a touring cast of The Nutcracker with the Dance Prism ballet company. My interest in fire spinning began about six years ago, and I was very lucky to find that Boston has a great, very large spinning community. As for where firespinning originated, I have heard it was with the Maori people of New Zealand. I enjoy performing with fire and I have been told it “adds an exciting alchemy of primal and elemental power” to my performances.