Lots of you’ll know Karen Margulis and her work. (And should you don’t, the place have you ever been?!) I’ve at all times admired Karen’s work in addition to her consistency in portray and dedication to educating. I’ve typically considered inviting her to visitor weblog but it surely was after I began seeing Karen’s postings of fantastic and exquisite abstracted flowers on social media that I knew I wanted to ask her to inform us about her journey into this new world.
Karen is thought for her representational work of wildflowers but it’s clear to see the place she’s been headed. Her new work evolves naturally from her extra acquainted model.
Take a look at these two items. They’re each impressions of flowers however the second looks like a transition between the previous and the brand new.
Earlier than handing you over to Karen Margulis, first, a bit about her.
Karen Margulis Bio
Karen Margulis is a recent panorama painter. She works in most portray media however has achieved recognition for her pastel work. She has exhibited her award-winning work around the globe and has been reviewed by Pastel Journal for her wildflower work. She is a signature member of the Pastel Society of America and an Eminent Pastelist recipient of the Worldwide Affiliation of Pastel Societies.
Take it away Karen!
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Initially of every workshop I train, I discuss to the artists about model. Most come to my workshops as a result of they wish to loosen up and transfer away from being too caught up in copying their reference photographs. I discuss to them in regards to the artwork journey we’re all on.
Our private model and preferences fall on a scale from pure summary all the way in which to photorealism. We’d transfer up and down the dimensions as we develop as artists however these shifts are often small and incremental in a single route or one other. I’ve at all times been simply to the left of the center of the dimensions. My panorama work have been representational however certainly not photorealistic. I might characterize my model as advised realism. It hasn’t modified from the day I picked up my first pastel again in 2005. My work have turn into extra refined however didn’t transfer too far on the dimensions.
Till now.
There was a nagging little voice that has been tempting me to the summary aspect of the dimensions. It began a number of years in the past however any makes an attempt I made to attempt summary portray have been disappointing failures. I simply didn’t perceive find out how to paint a profitable summary. I put that nagging voice on the again burner and continued portray my representational landscapes. However one thing shifted this 12 months.
The 12 months started as regular with an inventory of artwork targets. As I often do, I requested my Patreon group what they needed to discover. Abstracts have been close to the highest of the listing. I added it to my listing and figured I wanted to study extra about abstracts so we might discover them collectively. As luck would have it I noticed that Larry Moore was providing a six-week on-line course on summary portray. I had his guide ‘Fishing for Elephants’ [link: https://amzn.to/3MCNALi] and he was extremely beneficial as an teacher so I signed up. It was good timing and simply the push I wanted. On the time I had no concept how this choice would change the course of my artwork journey!
I liked the net course with Larry Moore. I liked the homework assignments and the weekly critique classes. I spotted simply how little I knew about abstracts and I used to be like a sponge every week absorbing data and completely devoting myself the homework assignments. I used to be seeing summary designs in all places. I used to be dreaming in regards to the abstracts I might paint the subsequent day. It was completely invigorating and thrilling. I used to be hooked.
We painted with gouache for the course assignments. That was enjoyable however I needed to translate what I used to be studying into pastel. So when the course ended, I started my exploration of what I had discovered about abstraction solely now with my pastels. It was as if a whole new world was open and I couldn’t get sufficient.
All through the winter my experiments with summary pastel portray continued however in non-public. It was a secret I wasn’t fairly able to share. I continued portray in my regular model for my demos and Patreon classes however each time I had the prospect, I performed with abstracts. By the spring I felt like I used to be onto one thing with the abstracts. I used to be hitting my stride and discovering methods to summary the topics I used to be most recognized for…..panorama with wildflowers. It was the start of my Floral Fantasy sequence. It was time to share them. That was the tough half.
I had labored laborious to construct a repute as a grasp of pastels. My representational ‘advised realism’ landscapes introduced me recognition. I achieved signature standing with the Pastel Society of America and Eminent Pastelist standing with the Worldwide Affiliation of Pastel Societies. I developed a following on social media and began a Youtube and Patreon channel.
Artists have been interested by studying from me…..find out how to paint with extra expression was a favorite workshop subject. However I wasn’t recognized for portray abstracts. How would this go over with my followers? Was it okay to make such a drastic leap on that summary to photorealism scale? I had at all times shared every part about my artwork journey….the great, unhealthy and the ugly! I began a weblog again in 2005 to share my journey so I wasn’t shy about sharing. I simply wanted to seek out the appropriate steadiness. I had an concept!
Spring arrived and it was exhibition season. There are a number of exhibitions that I prefer to enter yearly and I sometimes enter a panorama with wildflowers. This 12 months I made a decision I might enter a few of my new abstracts. I chosen a number of that I felt good about and hit the enter button. After which I waited.
To my shock and delight, I had entered 4 exhibitions and I had an summary chosen for all 4. Two ended up successful awards. It was a validating expertise however the second of reality would come after they have been seen for the primary time by my friends and my collectors! I used to be excited and a bit of bit nervous after I entered the gallery on the IAPS exhibition which was held through the June conference. I noticed my summary ‘Wonderland’ hanging amongst so many different superb work. Would anybody be shocked that it was mine?
I discovered an vital lesson throughout that conference. It’s okay to maneuver round on the model scale and it’s a good factor to remain unpredictable.
What do I imply? I used to be pleasantly shocked to get a fantastic response to my summary portray within the present from my friends and mentors on the conference. One of many feedback I received that basically caught with me is that I used to be not predictable….that it was an excellent factor to push and discover and never be afraid to share work that isn’t what everybody is aware of and expects. I by no means considered myself as unpredictable but it surely does sound thrilling!
So now I’m embracing the thought of being unpredictable however what about that scale I’ve been speaking about? I at all times thought that we’d transfer in between summary and photorealism however not that I might be in multiple place on the similar time. Now I do know that it’s not solely attainable however that working in two kinds helps me enhance each kinds of portray. One informs the opposite. I take what I find out about creating sturdy lifelike work and apply them to abstracts. Each require figuring out find out how to successfully use composition, worth, colour, and extra. Enjoying with abstraction permits me higher expression with my extra lifelike work. Transferring between the 2 kinds helps me and evokes me.
I not too long ago learn a put up by the late Robert Genn on model and shifting between kinds. He shared the story of an artist who felt the necessity to decide on a method and keep it up versus the artist who moved round and experimented with multiple model. Here’s a quote from Mr Genn that speaks to me:
“My recommendation? When you’re moving into a sure route, go laborious. Give it every part you’ve received. Additionally, have a look at your focus work as exploration, not product. When your flame burns down, smile, begin once more on one other.”
~ Robert Genn
I’m going to take that recommendation and run with it. My summary flame continues to be burning and I can’t wait to see the place it leads me. I can be taking an in-person workshop this fall with Larry Moore on portray giant abstracts. I’ll be bringing my pastels!
Data on my summary course of
I believe what I’m loving probably the most about abstracts is that I can play to my coronary heart’s content material. I don’t assume I’ve used the identical course of greater than as soon as. I start every portray with a unique strategy after which let the portray inform me what it wants. Lots of them have been executed on high of failed work that I’ve washed with rubbing alcohol. The ghost picture guides my marks.
Typically I start with a line drawing with black charcoal or black pastel after which start constructing layers. The portray then goes by many layers of moist and dry layers. I put in rather a lot however find yourself masking it as much as simplify and make a stronger composition. I’m at all times fascinated about how the viewer’s eye will transfer across the portray. I’m additionally acutely aware of variation in my shapes, values, colour, and mark making.
I’m nonetheless exploring in fact however for inspiration, I’m drawing on my previous representational work and the reference photographs that impressed them. I discover myself my photographs in a unique gentle. I’m closeup sections to see the design and the attention-grabbing shapes and patterns. I incorporate these shapes into the early layers of the portray after which I set the picture apart. My photographs and previous work additionally encourage the color palettes I take advantage of. Typically I’ll paint an everyday panorama after which do one other summary model utilizing the identical pastels. I’ve additionally executed it the opposite means round!
Here’s a typical development. These are the steps I took for my portray ‘Into the Wild’
- I begin with a chunk of 12×12 in piece of LuxArchival. (I want a paper or board that can take abuse.) I used black charcoal to attract some flower shapes. I’m fascinated about variation and motion.
- I begin layering pastel by including color to the shapes and the background. I don’t repeat a color wherever. If I wish to use a color in one other place I’ll change it someway…a unique worth, temperature, or depth.
- I take advantage of rubbing alcohol to moist down the pastel. I encourage drips! Whereas the alcohol is drying I begin including extra pastel. I like the impact of the pastel within the moist areas. Once more, I’m at all times conscious of variation particularly in my mark-making. With out fail I am going too far and add an excessive amount of stuff. I take advantage of alcohol and brush or spray alcohol to rewet areas to simplify. I additionally scumble pastel over dry areas to knock again busy areas.
- At this level, I let the portray relaxation and are available again the subsequent day with contemporary eyes. I am going by the identical technique of trying on the shapes and eye motion.
- For Into the Wild I noticed that a number of the flower shapes have been too comparable and organized in a row…..boring! I made some changes to those flower shapes and I used to be completed!
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Wow and extra wow! I let you know, I simply LOVE this new route Karen has taken. I can’t wait to see what’s going to occur after the workshop on giant abstracts she’s taking this Fall. I’m sooooo excited!! Thanks Karen for sharing your journey with us!
Have questions for Karen? Ask away! Have feedback? We’d like to see them.
Till subsequent time,
Gail
PS. That guide Karen was speaking about? Right here it’s:
PPS. Yet one more….
