Fall 2025 Reflections

A closeup from an experimental work “A Descent into the Maelstrom”.

“Deep into that darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.”

E.A. Poe

This year I descended into trying to grasp dreamwork within figurative pieces. What began as literal floral depictions of light was traded for searching within form. For months I carved figures from the dark, wanting the body to carry the same mystery as a storm or a flower. Somewhere in pushing so hard to render my romantic awe of existence within these figurative paintings something split open. I began to understand that what I’m really painting is a witness to the sublime, and it can’t be depicted through a literal realism. My only goal has been to find the light that moves through the darkness. Two new works have been borne from this revelation- striving to depict the feeling of existential reverence without needing it to be bound to a form.

I touched this feeling once before in a work earlier this year- “Almost, Once”- it came to me in a fury- a painting first depicting this sublime astonishment with abstraction through atmosphere of cloud and dream. I struggled to understand where it came from, and it took many months of searching in figurative paintings to find the root of it again. It was as if I needed to learn to control the light in form before letting it run wild once more. I also endlessly studied J.M.W. Turner this summer- imagine- painting highly rendered figurative pieces whilst studying the intangible light-driven Turner at the same time. I also read works such as Frankenstein, Poe’s compilations, and Wuthering Heights to push this gothic, surreal, romantic feeling into my work. The change in seasons and the return of the evening stars further helped me depict the harshness and wonderment of our universe. Thus, my new romanticism has finally been born. I’ve found what I was searching for. I don’t have a name for this new stage I’m in - the works are just beginning to form. It feels like a rebirth of the earth back to the celestial.

“Almost, Once”

An early 2025, more stylized rendition of what I’m again striving to reach for.

I’m still trying to work out techniques for this latest stage. In past works, I relied heavily on chiaroscuro, layers of glaze and impasto in the lights- and at present I’m interested in leaving parts of the canvas thin with washes of color to allow light from below to breathe through. Is it tradition? Absolutely not. Thin in darks yes, not thin in the lights, at least as far as the rules are concerned. But what would art be if not for experimentation so I must try. I have read in some sources this was the way of Turner in certain works, thin or raw canvas washed to let light in, but without being able to view most of his works in person I’m stuck zooming on images from home for now.

As always, I’d love to hear from you: karaknutsonart@gmail.com.

With Love, Kara.