Someone, Somewhere, Something:
Figures, Landscapes, and Still Lifes
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Opening Reception September 6th, 2025 4pm-6pm Show runs from - September 6th, 2025 - November 22nd, 2025 |
(Click above image for press kit)
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Artist - Karen Warshal
Statement
There are a few truths that I believe pertain to all my work: It’s not about me. It is about the world around me. I don’t want to convince anyone of anything but I do like telling stories. I am in pursuit of beauty.
As a very young artist in the late 1970’s and early 80’s, I did abstract paintings. It was the thing then, and it was all I knew how to do. Contrary to what some might think, it was difficult, and a little too soul wrenching for my constitution. I longed to be able to observe a subject outside myself and simply paint it. For that, however, I needed more training. Fortunately, I was able to find it.
The act of observation with the many challenges it presents is a driving force in all my work. Although I occasionally invent imaginary backgrounds for my figures, I always paint my people, places and objects from life. It’s my hope that the immediacy of the experience with my subject fosters the creation of a new reality that the viewer will deem worthy of entering.
I like painting everything, but Portraiture is probably my favorite. I view my models as my collaborators, and I’ve worked with some amazing models. Model sessions at my studio last four hours. The models get breaks but they work hard and are dedicated. The dynamic between artist and model is so important. It’s fascinating to watch someone’s face over time as the inner self comes to light.
I love creating narratives, sometimes ambiguous and other times specific. I’ve spent what seems like half a lifetime in museums studying paintings from the Renaissance to the nineteenth century. This has profoundly influenced my work. The art of symbolism has been largely abandoned but I love symbolism in stories. I use it sometimes but I’m not ever sure if people understand it.
Still lifes are great because they don’t move. I can paint them any time, and people seem to like them. They give me a chance to study form, color and composition under the wonderful north facing skylight in my studio.
Plein air painting makes me more decisive. The rapidly changing light conditions require observation and inspiration to mingle. I’m excited to include eight little landscapes that I did in Umbria this past summer.
As a very young artist in the late 1970’s and early 80’s, I did abstract paintings. It was the thing then, and it was all I knew how to do. Contrary to what some might think, it was difficult, and a little too soul wrenching for my constitution. I longed to be able to observe a subject outside myself and simply paint it. For that, however, I needed more training. Fortunately, I was able to find it.
The act of observation with the many challenges it presents is a driving force in all my work. Although I occasionally invent imaginary backgrounds for my figures, I always paint my people, places and objects from life. It’s my hope that the immediacy of the experience with my subject fosters the creation of a new reality that the viewer will deem worthy of entering.
I like painting everything, but Portraiture is probably my favorite. I view my models as my collaborators, and I’ve worked with some amazing models. Model sessions at my studio last four hours. The models get breaks but they work hard and are dedicated. The dynamic between artist and model is so important. It’s fascinating to watch someone’s face over time as the inner self comes to light.
I love creating narratives, sometimes ambiguous and other times specific. I’ve spent what seems like half a lifetime in museums studying paintings from the Renaissance to the nineteenth century. This has profoundly influenced my work. The art of symbolism has been largely abandoned but I love symbolism in stories. I use it sometimes but I’m not ever sure if people understand it.
Still lifes are great because they don’t move. I can paint them any time, and people seem to like them. They give me a chance to study form, color and composition under the wonderful north facing skylight in my studio.
Plein air painting makes me more decisive. The rapidly changing light conditions require observation and inspiration to mingle. I’m excited to include eight little landscapes that I did in Umbria this past summer.
Biography
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Karen Warshal is a classical artist living and working in Baltimore City. She received her B.A. from the University of Pennsylvania in Philadelphia and her Master of Fine Arts from Tufts University in conjunction with the Boston Museum School. She studied classical art at the Schuler School, at the Parker School of Structural Sculpture, and she has drawn extensively from antique sculptures in museums throughout Europe. She has been the recipient of a Maryland State Arts Council Individual Artist Award, a finalist in the Art Renewal Center Salon, and a finalist in the National Portrait Society Members Only competition. Her work has appeared in American Artist: Drawing and in International Artist magazine. Most recently, Karen was one of five artists chosen to paint the last five mayors of Baltimore. Her portrait of Mayor Bernard Jack Young will hang in the Board of Estimates Room in City Hall.
Karen teaches “Portrait Drawing” and “Anatomy for Artists” at the Maryland Institute College of Art where she is known for her classical approach. She does portraits upon commission, and her paintings are represented in many private collections. In addition to her work as an artist, Karen conducts annual art historical tours of Italy under the auspices of her company “Perspective Tours, LLC.” |
Website - karenwarshal.com/
Instagram - www.instagram.com/karen_warshal/
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Instagram - www.instagram.com/karen_warshal/
Facebook - www.facebook.com/karen.warshal