Karen Margulis – Journey Into Abstraction

Take a look at these two items. They’re each impressions of flowers however the second appears 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 up to date panorama painter. She works in most portray media however has achieved recognition for her pastel work. She has exhibited her award-winning work all over the world 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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Firstly of every workshop I train, I speak to the artists about type. Most come to my workshops as a result of they need to loosen up and transfer away from being too caught up in copying their reference pictures. I speak to them in regards to the artwork journey we’re all on. 

Our private type and preferences fall on a scale from pure summary all the way in which to photorealism. We would transfer up and down the size as we develop as artists however these shifts are often small and incremental in a single path or one other. I’ve all the time been simply to the left of the center of the size. My panorama work have been representational however not at all photorealistic. I’d characterize my type as instructed realism. It hasn’t modified from the day I picked up my first pastel again in 2005. My work have turn out to be extra refined however didn’t transfer too far on the size. 

Till now. 

There was a nagging little voice that has been tempting me to the summary facet of the size. It began a number of years in the past however any makes an attempt I made to strive summary portray have been disappointing failures. I simply didn’t perceive the way 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 normal with a listing of artwork objectives. 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 may 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 e book ‘Fishing for Elephants’ [link: https://amzn.to/3MCNALi] and he was extremely really helpful as an teacher so I signed up. It was excellent 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 cherished the web course with Larry Moore. I cherished the homework assignments and the weekly critique periods. 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’d 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 complete new world was open and I couldn’t get sufficient.

All through the winter my experiments with summary pastel portray continued however in personal. It was a secret I wasn’t fairly able to share. I continued portray in my normal type for my demos and Patreon classes however at any time when 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 identified for…..panorama with wildflowers. It was the start of my Floral Fantasy collection. It was time to share them. That was the difficult half. 

I had labored onerous to construct a popularity as a grasp of pastels. My representational ‘instructed 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 eager about studying from me…..the way to paint with extra expression was a favorite workshop matter. However I wasn’t identified 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 all the time shared every part about my artwork journey….the great, dangerous 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 stability. I had an concept!

Spring arrived and it was exhibition season. There are just a few exhibitions that I wish to enter yearly and I sometimes enter a panorama with wildflowers. This 12 months I made a decision I’d enter a few of my new abstracts. I chosen just a few 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 profitable awards. It was a validating expertise however the second of reality would come once they have been seen for the primary time by my friends and my collectors! I used to be excited and just a little bit nervous after I entered the gallery on the IAPS exhibition which was held throughout 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 essential lesson throughout that conference. It’s okay to maneuver round on the type scale and it’s a good factor to remain unpredictable. 

What do I imply? I used to be pleasantly shocked to get a terrific 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 a very good factor to push and discover and never be afraid to share work that’s not 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 all the time thought that we would transfer in between summary and photorealism however not that I’d be in multiple place on the similar time. Now I do know that it isn’t solely potential 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 robust life like work and apply them to abstracts. Each require realizing the way to successfully use composition, worth, shade, and extra. Enjoying with abstraction permits me better expression with my extra life like work. Shifting between the 2 kinds helps me and conjures up me. 

I lately learn a put up by the late Robert Genn on type and shifting between kinds. He shared the story of an artist who felt the necessity to decide on a mode and keep it up versus the artist who moved round and experimented with multiple type. Here’s a quote from Mr Genn that speaks to me: 

“My recommendation? If you find yourself stepping into a sure path, go onerous. 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 might be taking an in-person workshop this fall with Larry Moore on portray massive abstracts. I’ll be bringing my pastels!

Data on my summary course of 

I feel what I’m loving essentially the most about abstracts is that I can play to my coronary heart’s content material. I don’t suppose I’ve used the identical course of greater than as soon as. I start every portray with a distinct method after which let the portray inform me what it wants. A lot of them have been carried out on prime of failed work that I’ve washed with rubbing alcohol. The ghost picture guides my marks. 

Generally 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 quite a bit however find yourself masking it as much as simplify and make a stronger composition. I’m all the time fascinated by how the viewer’s eye will transfer across the portray. I’m additionally aware of variation in my shapes, values, shade, and mark making.  

I’m nonetheless exploring in fact however for inspiration, I’m drawing on my previous representational work and the reference pictures that impressed them. I discover myself my pictures in a distinct 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 photograph apart. My pictures and previous work additionally encourage the color palettes I take advantage of. Usually I’ll paint an everyday panorama after which do one other summary model utilizing the identical pastels. I’ve additionally carried out it the opposite method round! 

Here’s a typical development. These are the steps I took for my portray ‘Into the Wild’

1. I begin with a bit of 12×12 in piece of LuxArchival. (I would like a paper or board that can take abuse.) I used black charcoal to attract some flower shapes. I’m fascinated by variation and motion. 

2. I begin layering pastel by including color to the shapes and the background. I don’t repeat a color anyplace. If I need to use a color in one other place I’ll change it by some means…a distinct worth, temperature, or depth. 

3. 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 all the time conscious of variation particularly in my mark-making.  With out fail I’m 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. 

4. At this level, I let the portray relaxation and are available again the subsequent day with contemporary eyes. I’m going by the identical technique of wanting on the shapes and eye motion. 

5. For Into the Wild I noticed that a few of the flower shapes have been too related 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 path Karen has taken. I can’t wait to see what is going to occur after the workshop on massive 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 e book Karen was speaking about? Right here it’s:

PPS. Another….