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Yoga
Shannyn Joy Potter has been practicing yoga since the mid 90’s and teaching since 2010. She is a CIYT, a certified Iyengar yoga teacher and a C-IATY, Certified International Yoga Therapist. She continues to study regularly with senior teachers, locally and abroad. Shannyn is grateful for the teachings of yoga and aims to help others find freedom from pain. She sees the practice of yoga as a means of transformation with the ability to change the mind, body and spirit in ways that are beneficial and accessible to all. She teaches classes throughout the Twin Cities. Since 2015 she has served on the board of IYAMN, Iyengar Yoga Association of Minnesota, as Media Chair. Learn more about local classes here: yoga.

 

Art

Patterns overlap through all forms of life. I work with wood and metal because they
resonate with me and with each other. I see them as physical lines, another form of
drawing. Although the internal process is always and can only be personal, when the
sculpture is effective the response is universal and a connection is established.

My base and history is derived from drawing. I’ve always done it and will always do it.
In the past I made wood cuts for printmaking but quickly became more interested in
the block of wood than with the idea of reproduction. From here the sculpture began.

Before an action is taken and the chisel is lifted, there is long observation. All good
relationships require the ability to listen. I observe until I feel something, and then I
draw again. Sometimes the path is immediate, sometimes it takes years. The process
is visceral and laborious yet the end result is refined. Shapes and movements not yet
exhausted continue from one piece to another until they evolve or fade away. Each
individual is linked to a predecessor as the work is all related and interconnected.

Sources from nature come with their own history. There is always a visible pattern of
storms, death, separations and growth, much like us. I am interested in the
connections, the intersections and the over-lapping lines. I see the harmony and the
destruction between the city and its environment, friend and foe, all inseparable. I
have an appreciation of contrast that has merged into one. Saw marks weave in and
out through soft grain. Roads break in the pattern of a rivers. Trees grow into fences
and on top of abandoned rooftops. I am compelled to intertwine bright, shiny colors
on patterns of nature, preserving only the artificial. Steel becomes harmonious with
rigidity, found as it would be at the bottom of an arroyo. The forms I create are minimal.
I work to keep what is essential without losing the sensual. I look to create simple lines
capable of evoking the source that is greater than me.

This is a search to accentuate the beauty of irregularities. It is about
extracting, expressing and responding to a moment in time. It is a celebration of the
illuminated and the decomposing. I feel an obligation to do this works as a means of
honoring the life that I see. We are here temporarily, and I believe the attempt to
expose beauty is enough. These sculptures are documents of my existence, they must
be abstract.