In The Studio with Artist and Material Collaborator Ian McMahon

Our In the Studio series finds us in the Newburgh, NY studio of artist Ian McMahon, a self-described “Material Collaborator.” Ian’s practice is rooted in a deep, almost obsessive dialogue with the physical world – a journey that began as a child in a creative home in NY and was refined at the storied kilns of Alfred University. Since putting down roots in Newburgh in 2017, Ian has transformed his environment into a laboratory for “monumental” experimentation.

Whether Ian is wrestling with the structural limits of steel or harnessing the ephemeral volume of air to shape castable forms, Ian’s work bridges the gap between raw labor and refined artistry, proving that the most profound discoveries often happen by pushing the boundaries of the materials themselves.

Let’s step into the studio of Ian McMahon…

INSIDE+OUT: Where are you originally from, and how did you wind up in the Hudson Valley?

Ian McMahon: I was born and raised just outside of Ithaca, NY.  The Hudson Valley seed was planted by some good friends from grad school who had relocated to Newburgh and were spreading the word about some of the great opportunities the city offered. My partner, Ashley, and I had been living out in western NY at the time, but her teaching job at Alfred University had ended, and she had started a new job in NJ and was splitting time between the two locations. I was on the hunt to find a location closer to her job, as well as to be a bit closer to civilization. We spent about three years looking for a large studio space and finally found what we were after and made the plunge and moved to Newburgh in 2017.

What inspired you to become an artist? What was your journey?

Ian McMahon: I come from an incredibly creative family and have been surrounded by art, making, nature, and curiosity since the beginning. Being in that environment, immersed in my mom’s boundless creative art world and my dad’s collections and constructions, made a huge impact that seeped into my core. I was introduced to clay in 7th grade and found I had a natural ability with handling the material. My interest in the arts grew as I progressed through high school, and I made a point of fitting as much art into my schedule as possible and learning from those teachers. My interest in clay persisted, and I was encouraged by my professors and some family friends to visit Alfred University (a mecca for ceramics), which was only two hours from where we lived. I visited, and my mind was blown by the facilities and the level of making that was happening in that school. I applied early, was accepted, and in those four years of exploring making in that magical place, I found my artistic voice and fostered a boundless drive to pursue the journey of creation, which persists to this day.

You refer to yourself as a “Material Collaborator.” Say more about this and how it relates to both your smaller sculptural work and large-scale installations.

Ian McMahon: My approach to making comes from having intense relationships with materials that I gravitate to. I get an initial feeling about specific materials, and that becomes the beginning of a long journey. I push them, they push me back, and we wander together, informing one another along the way through successes and failures. Ideas, concepts, methods, forms, and processes all come directly out of this interaction. Following this methodology, my work has an evolutionary process, each interconnected in a sprawling web of discovery. None of my forms and processes would exist if not for engaging with materials in this intense, long-term pursuit. For example, all of my smaller sculptures and sculptural furniture have come from custom casting processes I invented and developed in pursuit of my large-scale site works. Clay led to plaster, and my prolonged exploration of plaster led me to spray application, then to plastics and unconventional molds, eventually culminating in using air to create castable volumes. This method of making, through the construction of many works, was refined and became its own custom process that I was able to apply to alternative outcomes.

What is your creative process for your large installations? Do you work with a team?

Ian McMahon: Each new location and the specifications that come with that site are how I initially dive into my larger site-specific works. Due to the nature of my processes, I have a cache of ideas that have presented themselves through previous works and experiments. I take that catalog of ideas and the space’s parameters and look for alignment or a spark of a new idea for what might work best. I really enjoy all the phases and challenges that come with creating my larger works, as well as the different roles that I get to assume while making them. Beyond being an artist, these works sometimes require me to be an engineer, laborer, architect, designer, choreographer, craftsman, videographer, and project manager. Many of my larger works have been solo endeavors, but over the years, I have been fortunate to have some really great friends and family members come on board and assist me.

I really enjoyed taking on these massive works on my own. I’ve found great satisfaction working through all the aspects of them and every detail of the labor myself. However, I have recently come around to really seeing the advantage of having more help and would eventually love to build a more robust studio team. I also can’t skip over the huge support structure that my family has provided over the years. You don’t often luck out with parents as supportive as mine; they go above and beyond in all aspects, and their belief in me, without a doubt, has fueled these works. Also, my amazing partner in crime, Ashley Lyon, an incredible artist and unwavering in her commitment to helping me see my visions come to life.

What other media do you like to work in?

Ian McMahon: I really enjoy the aesthetics and working with plaster and concrete, and in general, I’m beginning to gravitate toward any castable substance that has the potential to work with or expand my invented casting methods. I’ve come to really appreciate steel; its strength and visual properties make it an invaluable component that you will find in most of my work. I also have an expanding list of castable membranes to utilize as molds that I keep adding to the arsenal, such as plastics, fabrics, shrinkwrap, and rubber, to name a few. Wood (dimensional lumber) plays a huge role in the construction of most of my work. A multitude of materials play critical roles in how a work is formed, such as sand and air, but might not be physically present in its final presentation.

What is one question you’re constantly asked or the biggest misconception about your work?

Ian McMahon: How do you move it?

What are the most challenging and the most rewarding aspects of your work?

Ian McMahon: Pushing the limits of myself and material is the answer to both sides of that question. The time and energy it takes to see a project through to completion always tests me, but in the end, it means that I will truly get to experience that work not just as an idea in my head but also in reality, as a participant. Deep down, I really thrive from a challenge and truly enjoy the complexity of bringing these works to a material existence, despite how much of a battering I put myself through to create them.

What impact does your work have on your community?

Ian McMahon: If I think about what impact I want my work and studio to have on my community, it is to inspire others to dive into making in any format. I am truly obsessed with the processes and innovation, and I hope that enthusiasm comes across in the work. Through this deep dedication and intensity of my own creation, I hope to inspire and foster an environment that plants the seed of creative passion in those around me.

What local businesses do you rely on to be successful?

Ian McMahon: Elijah Wheat Showroom, an artist-run contemporary art gallery that relocated from the city to the waterfront here in Newburgh, has been a big supporter of my work. Carolina Wheat and Liz Neilson, the founders of the space, have created a platform that not only has allowed me to grow immensely as an artist, but they have also been monumental in bringing many high-caliber exhibitions and artists to the area. I also want to give a shout-out to WireWorks, an amazing mixed-use renovation project here in Newburgh that houses artist studios, apartments, office spaces, and local businesses. Specifically, I need to tip my hat to my friend Sisha Ortuzar, who is one of the founders of this project and has helped support a number of my pieces and continues to let me collaborate with the building to showcase many of my works. In the basement of WireWorks lives the Newburgh Community Acupuncture Project, which was my first introduction to acupuncture and has really helped me work through some injuries and keep me functioning in the studio. A few blocks away is Newburgh Art Supply, which stocks everything you might need in the art materials department. Gerardo Castro began, and Michael Gabor continues to run the annual Newburgh Open Studios, which has been a real gift in getting new traffic to my studio.

I also want to give a big thanks to the teachers at Horizons-on-the-Hudson Elementary School, where my seven-year-old daughter attends. Having a kid and juggling the time to be making is a constant challenge, but knowing she is thriving at school is so important, and I can’t thank those teachers and staff enough for what they do for our community.

What is missing in the area that you wish we had?

Ian McMahon: Sadly, we recently lost our ferry service that provided transport across the Hudson River to Beacon and easy access to and from the Metro-North train station. Newburgh is a robust and diverse community in a city with a rich history, and that service was an important lifeline for residents and a driver of growth. Like many of the cities on the West side of the river without direct access to the Metro-North line, we need more accessible public transportation options to keep moving forward.

Who or what inspires you personally?

Ian McMahon: Commitment, curiosity, and passion. I get so excited when I engage with people who are equally passionate about what they do. Encountering that level of energy and enthusiasm fuels me to keep digging in my own creative world.

Tell us something about yourself that people would be surprised to know.

Ian McMahon: I have a pipe dream of obtaining my helicopter pilot license in order to complete several large performative works that utilize the wind generated by a helicopter to activate sculptures.

What do you do for fun? What are some of your favorite ways to unwind and unplug when you are not working in the studio?

Ian McMahon: Biking, skateboarding, cooking, and camping – I love being physical, so I typically need a body-related outlet to turn off the studio brain and clear my head. That can be anywhere in the Hudson Valley on a mountain bike, BMX, or a routine in my basement. I really enjoy cooking and find great pleasure in learning new recipes, exploring flavors, and, of course, sharing them with friends. I also feel lucky that my family really enjoys the outdoors, specifically camping. We usually do a few adventures in the summer, and there is not much more that I look forward to than those escapades.

What is your current state of mind?

Ian McMahon: It’s hard for me not to feel deflated at the moment because of the current state of affairs in our country and globally. I’m not alone in the struggle to grapple with the anxiety and fear that perpetuates from current events and searching for solutions to manage their impacts while navigating daily life and raising a child. I’m continually looking to find a balance and am always working to spread positivity and kindness, which, I believe, is the only way forward.

Video and Photos by littlebitcreates and courtesy of Ian McMahon

Follow/Connect with Ian McMahon via Website | Instagram