• Ruche-0614-5
    • Encaustic on panel
    • SOLD
    • 20" x 20"
    • Ruche-0352-8
    • Encaustic on panel
    • SOLD
    • 20" x 20"
    • Ruche-0352-65
    • Encaustic on panel
    • 12" x 12"
    • Ruche-0352-20
    • Encaustic on panel
    • 12" x 12"
    • SOLD
    • Ruche-0352-64
    • Encaustic on panel
    • 12" x 12"
    • SOLD
    • Ruche-0352-33
    • Encaustic on panel
    • 12" x 12"
    • Ruche-Off-0505-51
    • Encaustic on panel
    • 24" x 20"
    • Ruche-Off-0505-111
    • Encaustic on panel
    • 24" x 20"
    • Ruche-Off-0507-6
    • Encaustic on panel
    • 32" x 16"
    • Ruche-Off-0569-5
    • Encaustic on panel
    • 24" x 12"
    • Ruche-Off-0569-29
    • Encaustic on panel
    • 24" x 12"

Artist Statement

With my series Kaleidoscoptical, I explore visual perception and cognition through the interaction of color within the confines of symmetrical patterning.

I have always been drawn to patterns. The human brain is programed for pattern recognition, even when none exist. Why do we see a man in the moon or ‘knock wood’? Perhaps in part, because doing so brings order to chaos or answers to the unanswerable. Not content to just create new patterns that stand on their own, I choose to trick the mind into thinking it is looking at a unique painting even though that painting originates from a single pattern that I use over and over.

I begin by designing a geometric motif composed of multiple layers. I render these layers with opaque and translucent encaustic paint, a wax based medium that reflects light and creates a sense of depth. I harness these characteristics to enhance the effects I seek.

Repetition is intrinsic to the series as a whole. Kaleidoscoptical contains smaller groupings based on a pattern that is unique to that group. I alter the perception of the pattern by varying the juxtaposition of hues and the order in which they are layered. This process creates an unlimited series of paintings. What continually delights me are the multiple, unanticipated visual transformations that occur with each painting as the light changes throughout the day. I am constantly discovering new imagery within each work.

Artist Bio

Karen Freedman is a Pennsylvania artist recognized for her abstract geometric paintings that explore optical illusion and depth through the use of luminous encaustic paints. She began her formal art training studying jewelry design at Philadelphia College of Art, now known as The University of the Arts. After college, Ms. Freedman went on to build a successful graphic design business followed by her immersion in the fine arts. “From the first moment I saw paintings in encaustic, I was hooked. The use of encaustic enhances the effects that I can create with texture, depth and color. I am drawn to its warmth, to its tactile quality. I love the physical demands of working with wax and I am challenged by its constraints.” Ms. Freedman has exhibited both locally and nationally. Recent exhibitions include her participation in Swept Away: Translucence, Transparence Transcendence in Contemporary Encaustic at the Cape Cod Museum of Art in Dennis, MA and Cumulative Force at The Gallery at R&F in Kingston, NY. She was one of only 140 Pennsylvania artists whose work was selected to exhibit in the prestigious Art of the State, Pennsylvania 2012 at The State Museum of Pennsylvania in Harrisburg. Her work is also featured in the publication, Encaustic With a Textile Sensibility by Daniella Woolf. In 2010 she was the recipient of the Director’s Award at the 4th International Encaustic Conference. Ms. Freedman’s work can be found in numerous corporate and private collections.

Selected Exhibitions

2015

Pattern: Organic – Geometric, Space Gallery, Denver, CO

Organic to Geometric: Investigations in Structure and Surface, Endicott College, Beverly MA

2014

RSVP 2014, LG Tripp Gallery, Philadelphia, PA

Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic, Hunterdon Art Museum, Clinton, NJ

2013

Obscure/Reveal, James Gallery, Pittsburgh, PA

Reverberance, Cerulean Arts Gallery, Philadelphia, PA

Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic, Cape Cod Museum of Art, Dennis, MA

Cumulative Force, The Gallery at R&F, Kingston, NY

Symmetry, Joseph & Marilyn Henry Gallery, Penn State Great Valley, Malvern PA

2012

Art of the State: Pennsylvania 2012, The State Museum of Pennsylvania, Harrisburg, PA

2012 Muse Invitational, Muse Gallery, Philadelphia, PA
2011

WOW!: Women & Wax, Art Center Sarasota, Sarasota, FL


Beeline, Fifth International Encaustic Conference, Kobalt Gallery, Provincetown, MA


Rhomboid Rumba, joannemattera.blogspot.com


2011


Encaustic With a Textile Sensibility, Kimball Art Center, Park City, UT


2010

Best Foot Forward, Fourth Encaustic Painting Conference at Montserrat College of Art, Beverly, MA

2009

Prime, James Oliver Gallery, Philadelphia, PA


Artist of the Month – September, www.rfpaints.com,
R&F Handmade Paints, Kingston, NY

Encaustic Works ‘09, sponsored by R&F Paints, Castle Gallery at the College of New Rochelle, New Rochelle, NY, Juror: Heather Hutchinson

Tangible Wax, Prairie State College Christopher Art Gallery, Chicago Heights, IL


Art Connections 5, George Segal Gallery, Montclair State University, Montclair, NJ, Juror: Patricia G. Selden

Publications


Studio Visit Magazine, volume twenty-three
“In the Encaustic Studio, Advanced Mixed Media Techniques” DVD, Michelle Belto, North Light DVD | an artists network.tv production
“Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic”. Exhibition catalog, 2013, magcloud.com
Woolf, Daniella, “Encaustic With a Textile Sensibility”. Santa Cruz, Calif.: Waxy Buildup Press, 2010. Print.
“Encaustic Works ‘09”, Exhibition Catalog
“Prime”, Exhibition Catalog, James Oliver Gallery, 2009 Philadelphia, PA

reviews

Kurt Shaw, TribLIVE (Pittsburgh Tribune), December 4, 2013 “Review: James Gallery Collection Reveals Complex Works Painted With Wax”.Click image to link to review.
J. Fatima Martins, Artscope Magazine, May/June 2013 “Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic”, p.10-11.Click image for a PDF of the review. I am mentioned on the second page.