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My work is fairly representational with a strong emphasis on composition and colour worked in a traditional manner with light and colour producing a tangible space around the figures. My main interest has been in developing a deeper space, psychologically as well as in the structure of the painting, whether it is within rooms, through windows looking out onto a landscape or in the landscape itself. I am beginning to see the geometric universal connection between forms, whether it is in the mountains, the rocks or in the arm of a figure on the beach. This understanding of the universality of form plus my own developing theory of colour, used to represent light, is gradually taking a path of its own. So that now, whether it is a complex interior or a simple still life, the painting is following its own order.
I feel that the artist’s work is to be there in the studio every day, to study constantly the effects of light on everyday life and to be present to the intuitive current that flows from our subconscious. To be open and structured at the same time. To receive images that relate metaphorically or, in fact, to the conditions, emotions, and spirit of the day and to produce a painting by artistic means that is a form complete within itself.
Karen Kazmer, Domestic Inquiry
This sculptural installation weaves a narrative through the gallery. It is an investigation of the comic and demonic forces that rule, cause upheaval and make for routines and rites in our every day environment. This work brings aspects of the domestic into the public gallery space, as the gallery becomes a sort of Hedonics showroom (referencing Canadian Tire and homewares catalogues). The constructions are hybrids of the domestic and the industrial: embroidered chain link laundry bags, concrete cross stitched pillows. My work is an attempt to express the contradictions that occur in the gap between human yearning and social reality. In the installation, disparate objects are used to create a psychological space that investigates domestic terrors – the comic and demonic forces of daily life.
I am presently working on a series of large canvases depicting naturalistic forms and objects in a close space. Emphasis is on modelling illusory three-dimensional images as subtly and naturalistically as my skill allows. The painter must create a language of painting and must see the futility of trying to copy visual reality without idealization and stylization. I am always experimenting in order to learn how to paint more subtly, hoping to eventually be able to create imagery as I see it in my imagination.
Three events come to my mind as major influences. The first event took place when I was five. I saw a Punch and Judy show on the beach at an English seaside town. I had not understood before that the world of the imagination could be made real through artifice. The second event, in East London, was seeing a dog walking along beside its master. The dog had no back legs and was attached to a sort of trolley with wheels that enabled it to run. From this I understood the imperative of not thinking using accepted rules. The third event was seeing an ancient Celtic doorway in a museum. It was made of two upright stone pillars and a stone lintel. In the upright pillars there were niches carved and in each niche was a human skull. This showed me that there were ways of thinking that I could not hope to understand.
The world of visions was rejected by the discipline of scientific objectivity but strangely that discipline is the one that is involved in the process of creating a new world of disorder. I am interested in the world of the fantastic.