Walking through downtown Old City, Philadelphia last Friday night – I became quite mesmerized by a small-scale group of Karen Freedman’s paintings I discovered at Muse Gallery’s 2012 Invitational. Freedman works entirely in encaustic, the process of working that incorporates warmed beeswax and powdered pigments into compositions, which are sculpted into definitive geometric forms; in Freedman’s case, these pieces are crafted into highly refined, decorative repetitions of form on wood panels. Ruche 0399 (encaustic on panel, 12″ x 12″, 2011) is a prime example of this artist’s ability to create movement across the board while only using a fairly muted palette of indigo blue, ochre and lavender, while red triangular reflecting points are carefully placed around the square “box” of the piece. The ground color of beeswax appears to unite all of the geometry together, as well as the multiple-curving, alpha-fading rectangles/parallelograms that Freedman uses in her background to inspire the movement of objects around the piece.
That same focus of movement by repeating parallelograms as a consistent background can be found in Ruche 0391 (encaustic on panel, 12″ x 12″, 2011). It’s quite clever, and as a follower of decorative patterning in many varied art or craft forms, a viewer can be quite “pulled in” to the tide of a Karen Freedman work. In an interview with artist Lynette Haggard, Freedman states that she initially studied Metals/Jewelry Design in Philadelphia as an undergraduate, before studying painting additionally at the Pennsylvania Academy of the Fine Arts (PAFA). One cannot help but notice and associate historic patterning of metalwork and jewelry with the decorative patterning and movement found particularly in these Freedman pieces.
Karen Freedman is one of twenty-two artists exhibiting this month, at Muse Gallery, August 1st through August 26th, located at 52 N. 2nd Street in downtown Philadelphia, PA.
(Images courtesy of the artist and Muse Gallery, Philadelphia.)