Karen Vogel is a printmaker and painter who finds inspiration in the natural world. Exploring the connection between patterns, textures, layers, colors, perspective and scale, she is interested in the parallels between art-making and landscape design, her two passions.
Ms. Vogel has studied painting and drawing at The Art Students’ League (New York, NY), The Corcoran College of Art and Design (Washington, DC), The San Francisco Art Institute (San Francisco, CA) and The Center for Contemporary Printmaking (Norwalk, CT). She has a Master Garden Certificate from the University of Connecticut, and is currently enrolled in the Landscape Design Program at the New York Botanical Garden. Her prints and paintings have been featured in museums and galleries across the country. Connecticut venues include the Housatonic Museum, (Bridgeport), River Street Gallery (New Haven), Kohn-Joseloff Gallery (Cheshire), Bendheim Gallery (Greenwich), the Center for Contemporary Printmaking (Norwalk), White Gallery (Lakeville) and Fair eld’s Art/Place Gallery, Bruce Kershner Gallery and Fair eld University. In New York, she has shown at the Brooklyn Front Gallery.
Ms. Vogel’s work has been collected by numerous private and corporate patrons. She has completed commissions for the National Academy of Science (Washington, DC) and American Public TV Stations (Washington, DC). Earlier in her career, she was an Art Consultant for The Aldrich Gallery (San Francisco, CA) and served as Director of Art and Exhibition Programs at the American Institute of Architects (Washington, DC). The artist is currently an active member of the Center for Contemporary Printmaking (Norwalk, CT) and Silvermine Guild of Artists. She teaches printmaking classes from the studio she maintains in Norwalk, CT.
“My work utilizes the language of print, typography, architectural and organic forms to explore the monumental shifts that have emerged from the breakdown of social cohesion – the infrastructure that supports social structure and communication that links us as social beings. The core of my work revolves around juxtaposing these diverse shifts and their uncertain references. Beginning with the structure of hand-cut text stencils, I layer multiple forms, textures, patterns, paper lithography, collagraph and monotype plates. Each layer involves a set of decisions and is subject to a series of actions: forms are printed or painted, removed, covered, uncovered, overlapped, deleted, repeated, built-up and broken-down. The play of positive and negative spaces generates a tension between cohesion and disorder. Within this loosely structured environment, the images agitate with a sense of sound and movement. This evidence of continual process, of order and chaos, reflects my striving to hear my voice within the ever-changing visual languages of our time.”