Artist Statement
"Sometimes I look at objects and think that if they are really composed of energy, that my seeing them as objects must be an illusion. From this 'quantum' viewpoint objects seem to be abstract creations and really special.
My new still life work is part of a series called 'Reflections.' Upon looking at my paintings, it is helpful for the viewer to disassociate himself or herself from preconceived prejudices of objects and view each painting as a fantasy environment of shapes and light, and of course reflections. The challenge is to view realistically painted objects in this free form or abstract manner. Also, any narrative theme thought to be part of the subject matter is welcome, but not necessarily intended by me. The paintings are like a Rorschach test, the viewer will interpret whatever reality that they wish to experience in the paintings.
The use of mirrors helps dissolve surfaces or planes and create a more complex dimensional space. The metallic surfaces, whether curved or straight, provide more concrete distortion effects. There is also the element of the intrigue of shiny metal surfaces.
I conceive of fabric as a connective sheath in space time, or as a veil between worlds. Fabric has its own reflective qualities. It is a malleable surface for ephemeral expression.
The geometric shapes in my work are everyday objects. These shapes are building blocks in space. There is also beauty to geometric objects when thought of as the basic components of matter.
Sometimes I think of hanging objects like circular mirrors, metal spheres and blown glass spheres as living orbs of light. They have spiritual aspects and are free of gravity. Hanging ribbons are dramatic devices to draw the viewers line of sight to the foreground objects. An occasional floating fish or a sphere can induce dissonance and intrigue in the viewer. The various poses of the wooden marionette or other mannequins represent the depersonalization of modern man in relation to the natural world. I also use biomorphic shapes that are generally taken out of their natural context. They represent anchors to the natural world.
I began painting a new series of Cosmic Figure paintings to fully consider how to human form fits into my artistic vision. These paintings can be seen as Imaginary Realism in style, and spiritually inspired.
The figure is seen in new galactic worlds., often with plastic draped foregrounds, replete with a few enticing objects, such as coke cans, orb balls, maybe a painted skull, etc. This ever-present plastic is hauntingly beautiful as well as a reminder of our troubled environment.
The notion of Identity is explored as fluid and relational and connected to the larger forces of the universe.
These figures may be portraits of time travelers. I seek to engage the viewer to perhaps place themselves in these environments, and dare to dream beyond their present reality. I would like to even imagine humanity at the birth of a new consciousness. The viewer is invited to consider their place within this expanded field.
These figures often have a mythic archetype context as represented by the cyclic phases of growth: ascension, contemplation, dreaming and initiation."
Artist Biography
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Karen Bognar Khan was born and raised in a suburb of Pittsburgh, PA. By the time she was in fifth grade she decided to pursue art as a profession. This pursuit led her to Carnegie Mellon University where she studied painting and sculpture, graduating with a Bachelor of Fine Arts in 1980. From Carnegie Mellon University she developed her skills in abstract painting and sculpture. After graduating she moved to NYC and found her true direction which can only be describe as fusion of real and surreal styles.
She studied illustration at The Parsons School of Design, and pursued work as a free lance illustrator. Because of her newfound interests in the academic and naturalist traditions of classical art, it became necessary for her to pursue figurative studies at The Pennsylvania Academy of Fine Art. She moved to Philadelphia, PA. The organized, intense and concise training of The Pennsylvania Academy provided Karen with a deep understanding of anatomy and figurative painting. While in Philadelphia she was represented by the Goforth Rittenhouse Gallery.
In 1990 she returned home to Pittsburgh, PA. Karen’s work was represented by the Mendelson Gallery, Pgh. She founded a company called Universal Murals that produced residential and commercial murals and advertising art until 2000. This work was lucrative but left her with little time for fine art. In 2002 Karen married and decided to devote her time to fine arts painting.
She was drawn to still life painting from the viewpoint of setting up a private world to spend time dwelling in, what could be a close-up landscape. The work developed until 2016, when she broke away from classical still life themes and started developing her current style of “Abstract Realism."
Karen and her husband currently live at the famous “Blue Heaven Farm” in Massachusetts, where she displays her art. She also shows at The Welles Gallery, Lenox, MA, The Art Walk, Pittsfield, MA and other Berkshire venues.
Throughout her life Karen has done numerous commissions. Additionally, she sells affordable custom prints of her prints at www.artaddictprints.com. She is a member of IGOR (the International Guild of Realism) and is featured on Galphia, an online gathering area for original art.
