“I wanted to make drawings people could fall into.”

I first became aware of the work of Abigail Larson as I prepared to create art-centered articles showcasing the exhibitors attending Spectrum Fantastic Art Live 3, and was struck by the feeling that I should have known her work for much, much longer.

My early memories of solo adventures into the world of literature are populated with the pen and ink drawings of Edward Gorey, and whenever I sense a kindred spirit in another artist’s work, whether it exists or not, I feel a deep kinship with that artist.

Abigail Larson’s art elicits feelings of a beautiful melancholy that draws my gaze, and I cannot help but hear the siren call of fairytales and gothic stories that I have loved, and gotten lost in, throughout the whole of my reading life. Her illustrations encompass a broader fantastical landscape of which I am particularly fond, and she creates works that are deliciously eerie, while others are rich in the Romance present in engaging fantasy stories.

Abigail Larson has a signature style which pays homage to her influences, and I trust you will enjoy examples of her work as you listen in on an interview she was gracious enough to grant.

Carl: I appreciate you taking the time to let me talk to you about you, your art, and your creative process.  To begin with, who is Abigail Larson?

Abigail: Thanks for taking the time to chat with me! And well, I’m an artist, first and foremost. I’m an illustrator, and a daydreamer. I create worlds in my head, then scribble them down onto paper.

C: Your work has both gothic and fairytale sensibilities.  Who/what are some of your influences?

A: Well, as far as artistic influences go, I’ve loved artists like Arthur Rackham, Edward Gorey, Kay Nielsen, and Edmund Dulac from an early age. I discovered Arthur Rackham in a collection of fairytales, and I drank in each of his paintings. I’d stare at them for ages, and I’ve never gotten bored of them. I knew I wanted to do that with my life. I wanted to make drawings people could fall into. The “gothic” themes came, I imagine, with all the monster movies I’d watch as a child, and the weird stories I read. I’ve always had an overactive imagination, so I spent a lot of my childhood crawling around in the woods looking for goblins, or keeping myself awake at night worrying about the Thing under my bed, or what my dolls did when I closed my eyes…

C: You have mentioned in your website bio being influenced by the works of Edgar Allan Poe and Bram Stoker, among others.  What is it about their work that speaks to you?  Why do you think these authors in particular, and others like Mary Shelley, continue to exude such a strong presence on the literary landscape in the 21st century?

A: I read Bram Stoker, Mary Shelley, and Poe many times growing up, and I’ve always loved their way of exploring the darker side of the world. Poe was someone I gravitated to because his words are unforgettable. I’d read his stories and poetry and I was filled with images and questions and it opened up territory I wanted to explore. I think the Victorians had an uncanny way of presenting those fears in their literature; Bram Stoker used an ancient legend to present his vision of everlasting life to the modern world, and it was seductive, but terrifying. Mary Shelley created Victor Frankenstein, a man wanting to emulate God by creating a man, who eventually turns on him. These works live on because it’s more than a monster story… it’s a reflection of human nature, and our greatest fears. That’s something that won’t change no matter how old the stories are. Until humans breach the barrier of knowing what happens after death, and what lies beyond our galaxy, we’ll continue to struggle with our fear of the unknown.

C: Are there other artists or authors from whom you derive inspiration whose work may not appear to have the same connection to genre that your work does?

A: Well, another Victorian writer I love is Francis Hodgson Burnett – not a gothic or horror writer, but a children’s author. I loved “A Little Princess” and “The Secret Garden.” She had a charming writing style that was witty, sweet, and just dreary enough for me to enjoy. I also loved the heroines. Young girls who grew throughout the story, and became admirable young women – not hell-bent on chasing boys, but to better themselves and those around them.

And as for other artists… there are really too many to name! I see beautiful art and hear incredible music and watch fascinating movies all the time – from all eras. I can’t list them all! I try to find new inspiration constantly, and not stagnate in one genre.

C: Given that you listed authors as influences on your work,  you must be an avid reader.  Are there contemporary authors who fire your imagination?  Who are your recommended “must reads”?

A: I used to read a lot more, but I don’t have as much time as I used to. I always encourage people to buy audiobooks to listen to, because that’s what I’ve started doing in an effort to keep my pencil moving, and still enjoy the books I love. Some great books I’ve read recently are “The Ocean at the End of the Lane” by Neil Gaiman (I have to recommend absolutely everything else he’s ever written), “Miss Peregrine’s Home for Peculiar Children” by Ransom Riggs, and Angela Carter’s “The Bloody Chamber.”

[Carl: All great choices!]

C: Was there any particular story in The Bloody Chamber collection that really stood out to you? It is such a marvelous collection of stories. For me “The Lady of the House of Love” really stood out in a sea of amazing stories. I’m such a huge fan of Bram Stoker’s novel Dracula that I often don’t connect with other vampire tellings, but this one pulled me right in. It was so full of lovely melancholy, rich imagery and feeling.

A: Great question! I loved them all; in particular “The Erl-King” and “Wolf-Alice” really stood out to me. I’m with you on Dracula and “The Lady of the House of Love,” it was a great read! They’re all such lush and fascinating takes on fairytales. I’d love to illustrate them all!

C: You have recently written your first children’s book.  How did that come about and what can you tell us about it?

A: I was approached by Alex Giannini to illustrate his debut children’s book “Sarah Faire and the House at the End of the World,” about a year and a half ago.. maybe two, and I jumped on it. It’s a great little haunted house story where the young protagonist, Sarah, has to work her way through a scary old house to find her friend Thomas. Alex gave me a lot of artistic liberties on the design, and it was exciting to help his words come to life. It was a really fabulous collaboration! The hardback was released in a limited run this Halloween, but it’s since sold out. We’re hoping to fund a reprinting, and a possible sequel.

[Carl: I do hope the reprinting gets funded, I’m sure I am not alone in wanting a copy of this book.]

C: Are there other book projects in the works that you can share?

A: Everything’s in a very early stage, but I am working on a collection of Poe’s tales and poems, as well as my own retelling of “Beauty and the Beast” with a gothic spin on it. Every other project is under wraps for now!

[Carl: Very excited to hear about the Poe project!]

C: Would you ever want to both write and illustrate a book of your own one day?

A: Yes, of course! That would be ideal. But for now, I’m happy to collaborate with other authors. It’s exciting work, and I’m constantly inspired by the number of wonderfully creative new writers emerging.

C: I am endlessly fascinating by the space and process of creative people.  What is your studio/work space like?

A: It’s full of dark French-inspired furniture, musty books, skulls, antiques, jars of moss, teapots, framed insects, and other things I might like to draw! I work at an antique drafting table, with my iMac right beside me.

C: Do you have any rituals, like listening to music, etc., when you create?

A: Yes! I always have music playing. I was always hopeless at playing instruments, but music is my next greatest passion after drawing, so I have to have something playing while I work. I love everything from classical to heavy metal. It just depends on my mood, and the piece I’m working on. I don’t have many other rituals, really. I have a pretty basic routine of getting up, getting dressed, and getting right to work every day.

C: You work in ink, watercolor and, more recently, digital media.  Does your approach to creation change at all depending on the tools you are using?

A: No, I don’t find that it does. I’ve gotten into a rhythm for each of my steps, and I often have a few projects going on at once, so it’s a lot of repetition; a hurricane of paper, ink, and music, haha!

C: Your work has been featured in the annual Spectrum: The Best of Contemporary Fantastic Art and this year, May 9-11th, you are attending the Spectrum Fantastic Art Live event in Kansas City.  The creation of art appears to be a very solitary process. What is it like showcasing your work in public and meeting your fans?

A: It is incredibly solitary. I spend so much of my time in the world in my head, and bringing that to life… so when I get to go out and meet fans it’s incredibly exciting. I really love meeting people who get what I do. It’s easy to feel like you’re alone in the world, that no one sees things the way you do, but it’s not true. There are lots of beautiful and creative and thoughtful people out there, and I’ve been fortunate enough to have met many of them, just because I’ve gone out and shown my work. I never get tired of hearing people say they feel at home in my illustrations, that they relate to the art, and in a way, to me. It makes me feel like I’m doing something right. I get so many e-mails from people who say my work inspired them to go back to art school, or pick up a pencil again, or write, or just to create something special of their own. That’s one of the most incredible feelings – to inspire, and be inspired.

C: What have you heard about Spectrum Fantastic Art Live and what are your expectations of the experience?

A: I honestly don’t know much about it! I got a notification from SFAL via Twitter that I was going to be vending there, so I thought, well, I guess I’m going! I investigated it a little, and it looks like a great group of artists. Really, all I expect is to meet some interesting people, and have a great time seeing everyone’s work!

C: Will you be bringing original work to the show? 

A: Yes! I’ll bring some originals to the show, because people seem so incredibly curious about my process. I think it’s pretty simple, but to satisfy that curiosity, I’ll have some sketches and paintings on hand. I’ll also have prints available.

C: When people view your work, what do you hope they take away from the experience?

A: I hope someone can look at one of my drawings and feel a bit of magic, some nostalgia, a sense of fear, and a little love… something hidden and lost, but not quite forgotten.

C: And finally, are there any dream projects that you haven’t gotten to do but hope to get to in the future?

A: I’m so young, this is a hard question to answer! I’m just starting on this journey, so yes! There are hopefully hundreds of projects in my future. I’d love to write and illustrate my own children’s books, I’d like to collaborate on a movie or show designing characters, I’d love to see my illustrations animated one day, I’d like to continue to meet fascinating, creative, and talented people, and help bring their visions to life!

Carl: I want to say a special “Thank You!” to you, Ms. Larson, for taking time out of your busy schedule to answer some questions that allow us to get to know the woman behind the incredible art just a little bit better. I look forward to meeting you in person in a few weeks and would encourage everyone else to get in on the experience that Abigail Larson and others will be having at Spectrum Fantastic Art Live 3.

Be sure to check out more of Abigail Larson’s work on her website, and feel free to leave comments and questions below.

(All art and images featured are copyright Abigail Larson)