In this new monthly column, Ariel Marken Jack connects with a local artist and sits down for an in-depth conversation about their art practice. In this first edition, Ariel speaks with Emily Powers.
Ariel Marken Jack: You are a multitalented and multifaceted artist with a slightly startling array of projects that includes (but is not limited to) fine art painting, tattooing, sign and logo design, screenprinting, and singing and playing banjo in local band Diggin’ Up Grubs. How do you balance all of these different projects, and how do they feed into each other?
Emily Powers: I love variety! As a full-time artist and my own boss, I find having multiple creative outlets incredibly inspiring and energising. I’m someone who tends to get easily distracted, but juggling these different projects helps me stay engaged. Staying busy and regularly being creative is essential for me—it keeps boredom at bay and has a positive impact on my mental health. Having such a range of work opportunities ensures I always have something to dive into, keeping me motivated and constantly growing as an artist.
I’m so thankful to be doing what I’m doing. I truly believe that art is a form of resistance; it’s an essential space where we can question and challenge societal norms and the pressures of capitalism. Other working artists can likely relate to the struggle of sometimes wondering if we should have chosen a more stable or “practical” path in life, but at the end of the day, the rewards of art as my ‘job’ far outweigh the challenges.
AMJ: You painted a series of portraits (previously reported on by the Barnacle) of impactful women in the Lunenburg community. A lot of your art seems quite localized to this area and its inhabitants—flora and fungi, human and nonhuman fauna, and combinations thereof—and I’m interested to know about how you draw inspiration from your community and physical surroundings.
EP: Humans, animals, and nature are my jam, with a particular passion for portraiture. I’ve always been drawn to painting the people I know, and as I get to know my subjects, I’m inspired to enhance their portraits with visual elements that capture the essence of their personalities. Examples of this can be found in my portrait series of Impactful Women in our Community: I’ve placed my subjects within imagined worlds, inspired by their realities. After spending time with each of these women, I drew from their stories, experiences, and memories the imagery that you see in the paintings.
My paintings often start with an observation of my surroundings – whether it’s the local people and animals, or the flora and fungi around me. From there, they gradually transform into more abstract interpretations of those realities, shifting away from strict realism and evolving into vibrant, dreamlike collages.
AMJ: You also work as a tattoo artist, which strikes me as a particularly people-focused way of creating visual art. How does the process of designing images destined to be inked into a particular person’s skin differ from other types of commissions, such as designing signs for local business?
EP: Tattooing is a very intimate art form, which is one of the aspects I love most about it. It creates a unique bond of communication and trust with my clients that’s different from the dynamic of painting commissions. What I particularly enjoy is the social aspect of tattooing – having the opportunity to connect with and get to know my clients while I work. This is a stark contrast to some of my other visual art practices, where I often find myself alone in the studio, sometimes going the whole day without speaking to anyone (other than my cats Cheese and Goose).
AMJ: A lot of your work is wonderfully surreal, featuring elements like people with animal or mushroom heads (or perhaps animals and fungi with human bodies). Does working with fantastical elements allow you to tell stories with your paintings in ways that feel more true than strict realism might permit?
EP: Absolutely. I love pushing beyond the boundaries of realism because it opens up new ways of storytelling. My paintings often explore the space between reality and perception – much like how our dreams and memories shift every time we revisit them. I enjoy creating vibrant, whimsical scenes, while subtly (or sometimes not-so-subtly) weaving in social commentary. I’m drawn to the playful and absurd in my work, and I’m a sucker for puns. Humor and playfulness are essential tools for me in navigating life’s challenges, and these elements naturally find their way into my art.
AMJ: I adore your painting “The Creation of Steve,” which, for readers who have not seen it, psychedelically reworks Michelangelo’s “Creation of Adam” to feature a cat-headed god figure, surrounded by little mushroom-headed companions, reaching down to spark life into a lion-headed human figure wearing black stockings and a garter belt. For me, this image exists at a delightfully specific intersection between contemporary politics and timeless fun, and I’d love to know the story of its creation.
EP: Your interpretation is spot on. Folks have likely heard the homophobic expression: “It’s Adam and Eve, not Adam and Steve,” referring to the harmful ideology that same-sex couples shouldn’t exist because they aren’t in the Bible. I painted “The Creation of Steve” to serve as a reminder that queer people always have and always will exist, as well as to acknowledge that queerness extends beyond humanity; it exists throughout the world, in animals and nature alike.
Through the creation of these fantastical human-animal and human-fungi hybrids, my aim was to challenge the binaries that have been imposed upon both human societies and the natural world. LGBTQ+ issues are deeply important to me, and queerness is a recurring and central theme in my work. Also, I love cute animals, mushrooms, and rainbows, so that was a bonus!
AMJ: I’m also curious about your work as a musician, both as co-frontperson of the Grubs and in last fall’s production of The Rocky Horror Picture Show at the Old Confidence Lodge. What does being a musical artist allow you to express that visual art doesn’t—and do you find that your musical work affects your visual work, or vice versa?
EP: Performing! I love it so much. There’s an energy I get from being on stage with other musicians and performers that’s naturally, completely different from the solitude of working alone in the studio. It’s this great balance between isolation and intense, extroverted collaboration that really fuels me. Spending my days creating visual art on my own allows me to fully charge my social battery, so when I head out to perform in the evening, I’m completely ready to give it my all. As a fairly social person, I find so much joy in connecting with others through music. Every show leaves me feeling energized and inspired. Working on Rocky Horror was equally fulfilling. I hadn’t been in a play since high school, so I was unsure how I’d fit in, especially years later as an adult. But it turned out to be an incredible experience, both challenging and exciting. It was a true honor to work with such a talented cast, an amazing director (Chris Jackman), and a fantastic music director (Shari Porter). The whole experience was a blast!
AMJ: Where can Barnacle readers admire or purchase your visual art, see you play live music, or get in touch about commissioning a sign or a tattoo?
EP: The best place to view/purchase my art, or to reach out about a commission is through my Instagram page: @emilypowaz
Diggin’ Up Grubs plays every second Thursday at the Mug & Anchor Pub from 7-9m! We also have an Instagram account where you can hear some of our tunes and stay updated with upcoming shows: @digginupgrubs
