Karen Fitzgerald


In The Watery Sky

In The Watery Sky

oil with palladium and silver on prepared, patterned paper
12 in. image, 25 x 22 in. (framed)

Pink Shell

Pink Shell

oil on canvas
20 in. diameter (unframed)

Dahlia

Dahlia

oil with 18k gold and palladium on panel
40 in. diameter (unframed)

Urchin Test

Urchin Test

oil on canvas
20 in. diameter (unframed)

Snail

Snail

oil on canvas
20 in. diameter (unframed)

Boat

Boat

oil with silver aluminum and copper on panel
48 in. diameter (unframed)

Boat 2

Boat 2

oil with silver, aluminum and 12k gold on panel
40 in. diameter (unframed)

Other Crossing

Other Crossing

oil with aluminum and 23k gold on panel
20 in. diameter (unframed)

Swamped Boat

Swamped Boat

oil with 23k gold on panel
15 in. diameter (unframed)

transformgallery

Fitzgerald.OrestesCirclePortrait“Karen Fitzgerald’s paintings transform matter into cosmic revelations.” – Michaël Amy

For 25 years I have been working exclusively in the tondo form. Roundness is fundamental to my visual thinking. The form is uniquely able to convey an essence of interconnection, wholeness and metaphysical purpose. The energies within our physical world are interconnected; I am interested in the process of elucidating those interconnections. I thin oil paint until it is in a fluid form, building up layers and producing a luminous, subtle, rich surface. The paint is added on top of a gilded surface. The gilded ground, whether copper, silver, 23k gold or 12k gold provides a distinctly “other-worldly” space. It evokes a universal space including our physical plane.

Light suffuses our world – its energy shapes the mood of each day. I use color as pure light, physical energy, creating complex shades and tones that reconnect energies present in the everyday world with my own as well as viewers’ experiences. My work gives you a way to have a visual experience of your own energy.  Similar to looking in a mirror, when you look into one of my paintings, you respond to the color, nuance and energy that is embedded in the piece.  You have an experience of your energetic self, manifested in the physical properties of the paint. I use the gilded ground as a cue; just as the artists of the Renaissance used gold leaf to signify spiritual aspects, my use of gold does not hold a decorative intention. I intend that the precious metal indicates something beyond our physical world, something metaphysical.

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