Alex Bohanan
Alex Bohanan (b. 1997, They/Them) ditched the Crayola crayons early on, opting for pastel sticks and an out-of-the-box approach to childhood art. Bohanan still remembers the perfect “A” for alligator they created as part of an alphabet exercise, as well as pages filled with intricate drawings of flora and fauna.
Growing up in Norman, Oklahoma, had its benefits and pitfalls. Being able to wander out through the backyard past rock formations, reservoirs and unspoiled nature gave Bohanan a bedrock of self-reliance. But the lack of diversity and unwavering stares from the community kept them on constant guard. By the time the seedlings her mother planted around the house grew into trees, Bohanan was ready to leave the state and try something different.
Alex Bohanan with one of their chained vessels, as well as a new piece featuring sgrafitto-applied designed
When Bohanan finally settled down at Simmons University in Boston, Massachusetts, the culture shock was palpable. They had to adjust very quickly to a less conservative atmosphere, but still had to take the time to lay out some simple concepts regarding prejudice in America to their fellow students. It was however, a safe and supportive enviroment to explore deep-seated ideas. This included an intense ink drawing of a 5-foot woman’s skeleton, as well as a keystone project promoting an exhibition. Getting the honor of being a Dean’s Fellow had Bohanan guiding other students in the communications lab. They graduated with a Bachelor’s in Liberal Arts with a focus on arts administration and digital communication in 2019.
Image of the “5 Foot Woman” a mixed-media drawing Bohanan created at University
A move back to Norman was like discovering the Matrix (they saw their environment for what is really was). Bohanan spent months designing a friend’s magazine, but when it went out of print, it was time to move on. Then, the Pandemic hit. The artist was lucky enough to retain work through remote means (as a graphic designer at Sonic Drive-In, creating hundreds of assets a month for their app!). When cabin fever set in, they broke out some roller skates and joined in with a rag-tag group of friends that would meet in parking lots and spend time chatting and rolling out in the open air. Lino cuts, prints on fabric (bandanas especially) and a new apartment saw them through the isolating times.
Longing to reconnect with arts administration, they took a position at the city’s Museum of Art as a community manager which ticked quite a few of the boxes in terms of employment. Graphic design, digital media and coordinating events were all put into play in the work. Bohanan calls the three years there a “colorful” experience. They cite having to pick up the slack after their boss left, as well as deeply institutionalized racism being just a few of the reasons to move on. During this time, a friend got Bohanan a pottery class for their birthday. It seemed like a natural fit after a few years of being away from a studio.
After Bohanan's best friend moved to Chicago, they were quick to follow with their partner Nash. After being told the city was progressive, accepting and accessible, they took the plunge and moved in April of 2023. Lincoln Square became their new neighborhood, and it proved to be a welcoming place. Compared to where Bohanan grew up, the people were open to new friendships and rent was reasonable! Above all, they could exist without anyone watching them with judgment and bias. Not having to “remember your place” as in the South, lifted a giant weight from their shoulders. It helped that Bohanan now worked remotely for a therapy company based in New Hampshire, and could move anywhere they wanted.
Bohanan’s chained vessel series
The large variety of creative spaces in Chicago made it hard to choose where Bohanan wanted to restart their practice. Lincoln Square Pottery Studio - Learning Center was situated close to the artist’s new home, and they started attending in 2022. Soon Bohanan was creating wheel thrown objects with hand-built details. The artist thinks about pottery ALL THE TIME, and tries to hone hard feelings and associations into clay. Coil-built chains drip off of teacups and other vessels. The visual weight of these elements are a reminder to Bohanan (as well as the world) the heaviness of past historic wrongs. The connection to forced bondage, as well as the terrifying history of the KKK (a very real threat where they grew up), all seep into the delicate links. To Bohanan, there is beauty in struggle, life and death, as well as in their own ancestry. Embracing the rage gives them power, creating a kind of ethereal existence.
Bohanan’s red stoneware series featuring snakes devouring their own tails as a commentary on breaking cycles
Bohanan has recently started to explore the sgrafitto method, where clay and/or glaze is scraped off the surface with a sharp tool. The artist says the act of taking away also gives something back, and new narratives have been born from it. Recent images of snakes devouring their own tails have taken hold, and are more refined with each take. The symbolism of the snake’s action lies in cycles. Of being able to break them because we have a choice in the matter. It’s a reminder to Bohanan that you can look the worst thing in the face - and survive.
Catacomb mugs featuring subtle but spooky skulls
Bohanan’s angsty youth as a Queer person of color in Oklahoma lets them tap readily into a deep well of visual macabre. Skulls, bones and dark colors make regular appearances on their designs. Cauldrons, chain vessels, catacomb mugs, skull themes and incense burners are all online for other Gothy appreciators to purchase. Bohanan recently started an online shop, and has also taken the plunge and sold work at some of the studio’s show events. They finally feel safe in their new city environment, and are hitting their stride at the studio. Bohanan now says they’re living the lifestyle they knew they wanted ever since they were young. Thankfully, it’s now a reality.