KAREN ROEHL  Bio and Artists Statements

 About the Artist

Originally from Montreal, Canada, Karen Roehl moved to Denver as a youngster in 1967. She has enjoyed living in the growing and vibrant Mile-High City, where she raised her two daughters, Vesla and Andria.

Roehl began her artistic career when she completed a design program at the Art Institute of Colorado in 1987. She enjoyed a successful career as a graphic artist for over 20 years, the last eight of which were spent running her own design business.

Satisfying a life-long desire to expand her creative talents into the fine arts, she entered the Bachelor of Fine Arts degree program at University of Colorado at Denver in 2004. Roehl continued working with graphic design while attending classes full time. She was the recipient of the Colorado Scholar’s scholarship award in 2007, UCD’s Fellowship award in 2006 and 2007, and completed her BFA degree in December 2007, graduating magna cum laude.

Roehl joined the faculty at Art Student’s League of Denver where she hosts classes in basic and abstract painting. ​

 

Now known for her paintings inspired by abstract expressionism, Roehl has work in many private and national collections. Roehl also enjoys combining realism and her abstract mark-making to create contemporary western genre paintings, primarily using horses as inspiration.

Roehl joined the faculty at Art Student’s League of Denver in 2011, where she hosts classes in basic and abstract painting. She was also a founding member and served on the Board of Denver’s acclaimed Ice Cube Gallery in the RiNo Arts District. She regularly participates in group, juried and invitational exhibitions. Roehl is currently represented by K Contemporary Art Gallery in Denver, CO.

About the Abstract Paintings

Inspired by the Abstract Expressionists, my work attempts to gain access to the inner workings of self as an individual, and on a larger scale, as human and a member of larger communities both local and global.

Scale is one element I use to emphasize the larger picture. I often prefer working on large, mural-sized pieces, the effect of which envelopes the viewer while standing up close, examining the painting’s many details.

My color palette ranges from monochromatic to very colorful, depending on my mood. My monochromatic palettes focus on the high contrasts between black and white and emphasize elements such as texture, composition, shapes and the marks themselves, things I think of as comprising an individual and inner quality of essence. Color reflects more the external world we experience daily and the strong emotional forces that influence our moods and interactions with that environment exterior to our selves.

The mark-making I use in my work is an intention on my part to learn another language that happens on an intuitive level of ourselves, one that speaks outside of the intellect. They aim at recreating an experience of self-discovery. I want to explore the things that make us unique, investigate where and what the boundaries are between us, and look for the things we hold in common.

A recurring theme in many of the dialogues that unfold in my work focuses on the quality of trust. The paintings are built up with many layers of marks, a process that requires a lot of letting go and starting new. Many times a painting will be in what I would consider to be a finished state when I force myself to paint over it, almost entirely, section by section. This creates a dialogue, one that exercises verbiage from this other language I’m trying to understand. Changing one section affects how other parts relate to it and each other. The response is to work on another area, and the dialogue continues in this manner until it feels complete.

The trust comes in when I decide to cover up a part of the painting that I’m attached to in order to get to something bigger. I trust that the thing I created that I feel is beautiful is not simply an accident or a one shot deal. In other words, I trust that it is within my power to create something beautiful, subjective as that might be, again and again, and in so doing discover its infinite forms.

About the Horse paintings

The inspiration I draw from Abstract Expressionism, from those courageous aims to enter and explore the ranges of human essence, is only matched by my reverence for painters devoted to realism, who depict the outer world through their keen ability to see into the heart of it. Quite a contrast, these two styles. But contrast, through its characteristic of relative opposites, creates a focal point of interest, a chasm, the borders along which are full of opportunity for insight. My most recent body of work attempts to meld the two genres of non-objective and representational art through the magnificent forms of horses against emotive, abstract grounds.

Horses. Friend and partner to humankind historically, through to present times. So akin to human physicality in some of their architectural components – the divots and knolls of their elegant musculature, the wrinkles, folds and blemishes of their body’s skin. Emotionally, they are kindred spirits, as witnessed through their eyes and personal natures. These powerful and elegant creatures have been indispensable to our worldly accomplishments by way of arduous, dedicated labor – a choice partner in helping sculpt human civilization. We are beholden to them, and admire them for much.

In rendering these majestic and gentle beings, brimming with elegant detail against raw backgrounds of emotional mark-making and color, a synthesis of inner and outer worlds congeal for me. Sensations, those experienced through seeing, mingle with those that exist in cryptic form and line the recesses of my interior. The result is an inspired amalgamation that I earnestly attempt to translate on to canvas in hopes that viewers may capture a glimpse of this experience for themselves.