Big Cache Art: an accumulation of items stored away for future use.

Objects generate wonder about their beginnings. I don’t keep my head in the clouds but at street level, always searching for things that others lose or throw away.

I am inspired by items discovered and uncovered in unexpected places. From discarded gouging rods scattered outside a bridal shop to coins unearthed on a beach, currency distant in both time and origin. I am especially drawn to found photos, with their enigmatic subjects and moments captured in time.

My narrative is based on the tricky dynamics of desire and passion. Themes circle me for weeks, months, like prodding buzzards. The only way to quiet the outside noise is to surround myself in my cache and colors where the stories will unfold.

Paint, draw, forage, destruct and reconstruct, in varied order. My work invites viewers to suspend linear thinking and instead perceive mixed media as a sum of elements, pieces of a puzzle that when re-shuffled, evoke personal memories and surprising sensations.

Welcome to Big Cache Art where found objects find new narratives.

Shannon Kernaghan Kernaghan_Poster_VDP-Gallery_400 Mixed Media


A Changing Landscape – The Female I,
a timely exhibition of women artists for International Women’s Month, March 2 to March 8, 2020:

Ironic, didactic and mischievous, Shannon Kernaghan’s collages of women’s bodies are pieced together with crow’s heads and paper doll cutouts. They tell viewers the story of a female experience in which onlookers have historically directed norms around female appearances and sensuality.  

Shannon Kernaghan VDP-exhibition-panel Mixed Media

Art Exhibitions

Van Der Plas Gallery (NYC, NY) A Changing Landscape
Woman Made Gallery (Chicago, IL) Loss
Las Laguna Gallery (Laguna Beach, CA) small works-BIG TALENT
Still Point Art Gallery (Brunswick, ME) Secret Life of Objects

Visual Art Publications

Still Point Arts Quarterly
Interim: A Journal of Poetry & Poetics
Pacific REVIEW West Coast Arts Review Annual
Beyond Words – Literary Magazine
Jelly Bucket literary journal
Wordpeace literary magazine
Glassworks Magazine

“Bait,” 2020

Acrylic, paper & metal on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Sharks are always circling, no matter how blue the water. Threats come from above and below, sometimes from sharks disguised as humans. Beware what lurks . . . even on a clear and sunny day you could become bait.

“CoRvids Conquer Covid,” 2020

Acrylic & paper on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Crows are clever, especially when
dispatched to rid the Earth of
COVID-19.  Pandemics are no match –
a Roswell-style parody on how humankind must wrangle this virus before it does more global harm.

“Mythos: Birth,” 2020

Acrylic, metal & paper on  board. 
42 x 62 x .635 cm. (16 x 24 x. 25 in.)
What if Venus emerged from rust and earth, not scallop shell? What if Venus is less modest and more vocal? Kernaghan’s Venus is loud and proud of her form, not perfect as a pearl but confidant as a crowing warrior, as all women should be!

“Spy Games: Si Ego Certiorem,” 2020

Acrylic, paper on board. 
 42 x 61 x .635 cm. (16 x 24 x .25 in.) 
I could tell you, but then I’d have to kill you. That’s the translation of Si Ego Certiorem, an insignia created for ‘black’ military projects. Black. Red. For Kernaghan, spying is little more than a game . . . depending on which side you play.

“First,” 2020

Acrylic & paper on board.
30 x 20 x .635 cm. (12 x 8 x .25 in.)
Being first is never easy but ultimately empowering – welcome, first woman Pope!
The smoke clears and the window opens
to a new vision. Caw.

“Broken,” 2020

Acrylic, metal & paper on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
When a heart breaks, the soul fractures in sympathy. Glossy feathers shift to saws with jagged teeth. Kernaghan’s mixed media personifies the cut – literally and figuratively. What will bring her back from this fiery abyss? Every woman has her story . . . or ten.

       “Eat Crow,” 2019

Acrylic, metal and paper on board.
30 x 21 x .635 cm. (8.5 x 12 x .25 in.) 
If forced to ‘eat crow’ and admit you were wrong, Kernaghan has loaded this humble pie with shiny and colorful ingredients.
Enjoy the heavy metal flight!

 “I Am Crow,” 2019

Acrylic, metal, paper on board.
20 x 30 x .635 cm. (8 x 12 x .25 in.)
There’s a whimsical myth that crows like to collect shiny objects. To continue the legend, Kernaghan used shiny objects from her own collecting – an apt title for this 
‘pica pica’ piece.

“As the Crow,” 2019

Acrylic, metal & paper on board.
21 x 30 x .635 cm. (8.5 x 12 x .25 in.)
Noisy nuisance or nature’s clean-up crew? You decide. Like art, understanding crows is all about interpretation. Kernaghan is intrigued by these birds – their similar appearance makes it tough to identify female from male and yet crows can recognize individual human faces!

“A Murder,” 2019

Acrylic, metal & paper on board.
20 x 30 x .635 cm. (8 x 12 x .25 in.)
Agents of death? Crows are linked to the magic and mysteries of life. What does it mean when you keep seeing crows? Are you paying attention to the symbols and messages crows bring? Hopefully the only murder is the name given to a flock!

“For Life,” 2019

Acrylic, paper & pearls on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Inspired by crows that mate for life, all brides – like crows – are beautiful in their skin . . . or feathers. This piece is built on a wedding dress pattern, layer after layer of hope and anticipation.

“Tutorial: Paint Naked,” 2019

Acrylic & paper on board.
40 x 62 x .635 cm. (16 x 24 x .25 in.)
Drawing inspiration from fashion and nature, the beauty of reclining nudes and crows join powerful forces. Kernaghan’s mixed media piece is influenced by poems and songs.
Go ahead, paint naked like
nobody’s watching!

“Im/Balance,” 2019

Acrylic & paper on board.
40 x 60 x .635 cm (16 x 24 x .25 in.)
When Swamp Thing meets The Incredible Hulks meets Godzilla, our worlds could collide. The challenge is keeping global balance – avoid the fall! Kernaghan adds graffiti elements to this Battle Royale.

“Unfiltered,” 2019

Acrylic, paper & twine on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Kernaghan’s graffiti-inspired energetic abstract is loaded with color. The artist invites viewers to fill in the gaps by creating a bridge between perception. Try not to get caught in the everyday swirl of dis/belief.

“Diamond Jack,” 2019

 Acrylic & paper on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Ransom-note words and graffiti components are a vehicle for Kernaghan’s artistic expression. Welcome to the British Invasion, then and now, where viewers can complete the story.

“Tutorial: Draw Nude,” 2019

Acrylic & paper on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
Under the guise of an innocent tutorial simmers the desire for sex in its multitude of angles. The artist’s path is influenced strongly by people and relationships.

“Decree Absolute,” 2019

Acrylic & paper on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.) 
Kernaghan is intrigued with how optimism and imagination affect our life’s trajectory. Her narrative is based on the changing dynamics of love and loss – the things we do to capture each other’s affection . . . and then end our conjoined path. Her work is a tale of romance  and heartbreak.

“Dead Reckoning,” 2019

 Acrylic & paper on board.
40 x 60 x .635 cm. (16 x 24 x .25 in.)
The pull to explore inspires Kernaghan’s artwork. Early mariners used a navigation technique to find the direction and distance traveled by ship. Today, a combo of technology, nature and the human heart continue to break new trails.

“Writer Brain,” 2019

Acrylic, wax paint, paper, metals on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
From A through Z, Shannon Kernaghan’s Writer Brain attempts to decipher the questions that follow us through the ages.  When people possess books  – a symbol for limitless knowledge – the brain increases its chance of unlocking answers.

“Sound Cache,” 2019

Acrylic, photo, paper, metal on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
From early roots of ‘home opera’ to current home recording studios, Sound Cache represents an innovative sound leap into the contemporary, from vintage black & white images to the blue skies of technology.

“Young Explorers,” 2019

Acrylic, wax paint, paper on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
Wheels to wings – the lure of adventure has attracted thrill-seekers through the ages. The spinning motion of greens and yellows create limitless skies in Shannon Kernaghan’s mixed media from her Big Cache series.

“Banning Boy,” 2019

 Acrylic,  photo, metals on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
That stop-time sandwiched between the action and the shutter click: impromptu photos with cats reveal tender images set to a concrete wall. Kernaghan softens the environment by building a field of greens and golds that evoke nature and nurture.

“Chantilly Girl,” 2019

Acrylic, wax paint, photo, metals on  board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
Where viewer becomes voyeur – peek inside the model’s tableaux while taking a step back in time. With the use of metals, gems and micro beading, subtle greenery
creates the perfect cover.

“Atomic,” 2019

Acrylic,  paper, metal on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
Anxiety and peril. Science and space. Shannon Kernaghan uses headlines that incite fear and alter lives. Banners torn from newspapers announce protests and violence that contrast the space race. Swirling smears of red, blue and rust represent the underlying maelstrom that aptly defined politics
in the 1960s.

“Singe,” 2019

Acrylic, wax paint, paper, metal on board.
30 x 20 x .635 cm (12 x 8 x .25 in.)
Shannon Kernaghan incorporates the haunting image of a woman’s face in a burned picture found blowing down a lane. Contrasted by the tableaux of well-dressed women, one setting is relaxed and pampered while the other is agitated and gritty. Both backdrops are frozen in time, a pause that signifies a temporary state of being.

“Voyage En Mer,” 2019

Acrylic &  paper on board.
60 x 40 x .635 cm (24 x 16 x .25 in.)
Growing up in the Canadian prairies, Shannon Kernaghan had wide open spaces with room to dream although lacked access to waterways, a frequent theme in her art. In Voyage En Mer, the artist merges ocean voyages with map-as-sail. Kernaghan’s ship navigates to distant shores through a turbulent sea of rich blues and greens. Hope is embodied by a brilliant
sun overhead.

“Distant Shores,” 2019

Acrylic, paper, coins on board.
30 x 30 x .635 cm (12 x 12 x .25 in.)
The boundary between adventure and risk is blurred when wanderlust takes hold! Kernaghan reveals a wayfaring spirit in her work, buoyed by shimmering gold-green waters and a far-reaching blue sky. Coins signal both distant geography and envisioned treasure –
all within reach.

“Self Portrait,” 2020

Acrylic on paper.
30.48 x  22.86 cm (12 x 9 in.)
 With a fierce sense of uniqueness and an aversion to creative boundaries, there is no such thing as too much color in Kernaghan’s world. Her abstract evokes self-awareness and validation.

Mixed Music

From a fusion of club jammin and electronica to country and rock – all find a home in my mixed music wheelhouse.


From fresh to trippy tunes, Bigger Than Jimmy pushes the scope of what a fusion of techno and electronica should be – optimized for the dance floor with a hard-hitting effervescence. These head-nodding beats are created to wash over you and warp the sound into uncharted territory.

“My Husband Has Begun” is from Bigger Than Jimmy,
a music project/collaboration with songwriter and
mix-master Kraven Cache.

Slip this on for size . . . “Prada and Pie,” my new music collab with mix-master Kraven Cache, from the album Bigger Than Jimmy.

Groovy! Far out! “I’m Not a Child of the 60s” but I still love to take a trip! The proof is in my song created with mix-master Kraven Cache, from the album Bigger than Jimmy.

Shannon Kernaghan pinit_fg_en_rect_red_28 Mixed Media