Today we’d like to introduce you to Iris Rylander.
Hi Iris, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
I started creating in my childhood and never stopped. I graduated from Texas State University with a Bachelor’s in Fine Arts, with an emphasis in Education. During my seven-year teaching career, I had multiple side jobs working under other creatives in Austin.
It wasn’t until the start of the pandemic when I lost my side job that I was kind of forced to contemplate what I wanted for myself. In July, I moved into a studio space at Contracommon, a non-profit arts organization based just outside of Austin, TX. I believe that decision has been a pivotal moment for me and my practice. Having a dedicated space and being part of a collective of artists has allowed me to grow exponentially. I’ve reconnected with long-dormant parts of myself that are fascinated with nature. I experiment with reconstructing natural subject matter in a way that emphasizes the bits that I’m drawn to while trying to convey my connection to the piece in a way that others can relate to. I describe myself as a multimedia artist, though currently, I am focused on printmaking. Inspired by Contracommon’s gallery space, with almost ethereal natural lighting flooding in from floor-to-ceiling windows, I slowly developed the idea of hand printing small blocks in a repeated pattern across tall, almost scroll-like paper that mimics the length of those windows. And so, in the summer of 2020, I began Allegory Handmade: a series of linoleum prints that use the language of flowers and other symbolism to reflect my own experiences, but also experiences that I believe are relatable to many people. These prints are composed of a repeated tessellation in which different images fit; allowing me to reconstruct compositions, creating new narratives.
Now, I have about 25 narratives that I regularly sell online and at local art markets. Additionally, I make custom prints using these images to represent a person’s life, goals, or character traits. In January 2023, I’ll have a solo exhibition at Contracommon that is the culmination of this entire 3-year project. For me, this is a beautiful full-circle moment. I’ll get to see the works originally inspired by the space come to fruition, and I’ve really stretched how I can represent the original premise of using symbolism to depict shared experiences.
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?
Oh god, no. Haha! I’d really love to meet someone who can answer “yes” to that question. No, I think it’s part of an artist’s journey to overcome challenges that are both expected and unexpected in their practice. For me, the challenge started with time and energy. I loved teaching and never wanted to give it up, so I constantly had to try to balance my ability to be present for my students with finding time and energy to create. Of course, there are always financial challenges too. And for me, a big struggle has been validating myself as an artist. I hadn’t kept up with my practice after college; I don’t know if I ever intended to in any serious way because I knew I primarily wanted to be an Art teacher. When I decided that I was going to seriously pursue this idea, I had to overcome a lot of imposter syndrome.
Can you tell our readers more about what you do and what you think sets you apart from others?
When I began this journey, I knew it was really important for me to be able to see my values reflected in my practice and my pieces. From start to finish, I have sustainability, community, integrity, healing, and transparency at the forefront of my mind. The impact I’m making with this project is what I’m most proud of. I try to source and repurpose as many second-hand and recyclable materials as possible. I have conservatively priced my pieces so that people can own original art that holds deep significance to them, and 10% of every sale goes to supporting people in need. While creating my “library” of symbolism, I saw the need to extend outside of Victorian Floriography. In my own way, I’m trying to undo the erasure of non-white cultures caused by the way the Victorian upper-class developed their language of flowers. In my “library”, I include the meaning of a flower in its native culture first (if applicable), then the meaning in Victorian Floriography. In addition, meanings can vary based on color and variety, so my “library” covers an extensive amount of themes such as love, friendship, tragedy, pain, endurance, truth, wisdom, and so on. Through the use of these meanings, I’ve been exploring more of my own experiences and how I can connect to others that have experienced similar things. I find this process very healing and try to use my work to heal others, too. The narratives of my prints serve as gentle reminders of the owner’s strength, beauty, and growth and the importance of celebrating those things.
Is there any advice you’d like to share with our readers who might just be starting out?
Yes! Trust your instincts. Find a positive community and resources to help you grow. Know your purpose, and double-check that the decisions you make are in line with that purpose. Failure is a good thing and so is being vulnerable (when you feel safe to do so). There will be times of frustration, grief, and doubt. If that is overweighing the feelings of love and joy, step back and reassess.
Contact Info:
- Website: www.allegoryhandmade.com
- Instagram: www.instagram.com/allegory.handmade/
- Youtube: https://www.youtube.com/channel/UChnB3nQVKZYtOSFtkwKocRA
Image Credits
Katie Cowden
