Essays / Reviews / Interviews

IMPACT OF LIFE  (catalog and video for LA Artcore August, 2014)

Mat Gleason, Karrie Ross, Eric Minh Swenson (Photo by EMS)

Mat Gleason, Karrie Ross, Eric Minh Swenson (Photo by EMS) exness

“When you are looking at drawings you are looking at rough drafts for what a painting can be. A very linear planned and structured, few erasure marks to get things precise. The most interesting drawing, and drawing as a medium is an art form, for me, is when I’m looking at it as a viewer is improvisational drawing. Karrie Ross takes that to an even more  intense level by starting with and incorporating accidents throughout her process.

And so when you let literally fate and physics conspire, the level of freedom in that and the level of confidence of an artist is — A. it’s rare, and B. that she pulls it off that she makes these compelling drawings that are as structured as any preplanned notion. What’s special about them for me exness india, is that they’re almost finished paintings and yet they are still drawings so that there’s that energy of the what-might-happen with the insistence though that this is a painting that’s ‘going to live on for generations—this object that’s going to carry today forever…’”

Mat Gleason; writer, curator, dealer (transcribed from the show video)

“IMPACT OF LIFE” LA Artcore Union Center for the Arts
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“A Catalyst of Meaning: The Art of Karrie Ross”
IMPACT OF LIFE  (catalog and video for LA Artcore August, 2014)

For centuries, artists have explored the conceptual boundaries of art and science, such as Da Vinci broker exness, whose empirical methodologies revealed the creative discoveries of imagination and curiosity. Those mechanisms of gestalt inspired many in the notions of visual perception and, the reality of being. The psychological phenomena that occurred throughout the process would open the door for wonderers to come. Karrie Ross is an artist who sees the realms of existence through a multi-faceted lens: energy, science, participation, conversations, and being seen are influencing constructs of her work. She notes that, “metaphorical representations create a ‘safe’ place for the viewer to experience a flow and connection from their interaction with the art, discovering that they are part of a bigger whole.” This intent engages a reflexivity between viewer and artist, as Ross defines her process of discovery as one that is intertwined with learning about matter itself, such as the molecular vibrations of an atom that require energy in transitions––and that everything has a frequency, which the universe reciprocates. She adds, “I paint with abandon, and my belief system is that we’re all connected through the vibrational energy of the earth that is natural.”

Change is a catalyst in her work. Ross acknowledges that it can be a simple “Aha” moment and cites that change is in the magic created within the mystery of living life––a paradigm shift.

“I change moment-by-moment. My life is an illusion that I create. My ‘what is’ is right now. I don’t paint based on what’s happening in the world. I paint what is happening within me in reaction to what’s happening in the world. A context is formed from what my subconscious needs me to expose so the art changes a perspective into a response. I have no idea what that is until the art is finished. Balanced. I start with a symbol or figure but all the rest just happens when one is put next to another over and over again.”

Watercolor is the primary media that Ross uses. The painting begins on a dry palette with infusions of pen and ink, oil and acrylic, and sometimes torn paper. Her doodles are reminiscent of Cy Twombly’s organic scribbles set in a field of lyrical abstraction. Spirals, a tonality of blended color,and metallic bejeweling embellish a framework that is grounded in graphic design and color theory. Stylized figures appear whimsical yet allegorical in a resplendent cavalcade to ignite the viewer’s attention.

The juxtaposition of semiotic imagery and magical realism creates a mise-en-scène that is metaphoric of Brecht’s theatrical alienation, in which the audience is distanced from emotional  involvement by a simulated performance.

Figurative and graphic illustrations are cast as playful characters that dance across each piece with quizzical abandon. These incarnations seem to veil an angst that serves as a touchstone and catharsis for Ross, perhaps for life’s complexities. Yet ultimately, these sub-layers of existence reveal her luminous characters in a joyful expression of synergistic continuum.

Jill Thayer, Ph.D.

Jill Thayer, Ph.D. is an artist, educator, and curatorial archivist. She is Associate Professor of Art History for Allan Hancock College, Santa Maria, California; and online faculty at Santa Monica  College in Art History: Global Visual Culture; Southern New Hampshire University in  Humanities/Art History and Marketing; and Post University in the MBA Marketing program for the Malcolm Baldrige School of Business. Jill is contributing writer for Artvoices Magazine, Los Angeles; and Artpulse Magazine, Miami. Her postdoctoral project, “In Their Own Words: Oral Histories of CGU Art,” featuring Professors Emeritus, Professors, and Alumni of Claremont Graduate University is included in Archives of American Art at The Smithsonian Institution.

Robert Seitz, LA Artcore Exhibition 2014

Karrie Ross lives a fully creative life, moving daily between two modes of working.  As a book designer and author, with a background in advertising and marketing, she creates direct interpretations to suit the assignments she receives. As an artist with fifty years of experience with a full range of mediums, she comfortably shifts to the opposite, and works from instinct and mystery as a way to further the intense focal energy she carries within her.

Her art work is about the pursuit of answerable questions. She lives for them, and frames a life through the use of questions, rules and parameters. Quite different from rules of authority where one is left only to choose obedience or rebellion, the sort of rules she discusses are more like tinkering with the instructions for playing a game. Rules introduced to increase the level of intrigue, parlay with chance, and turn a straight line into a garden path.  Likewise there isn’t an absolute answer so much as call and response, diving and resurfacing beneath the waters of her search in a game of Marco Polo. She searches for an unguided answer in the work, whether it’s conscious or unconscious, and uses this to measure the degree of finish in a piece.  She moves through materials and surfaces at will, and tends to take on a cluster or group of materials to work over at one time.  It is as though she were an irrigation system, trying out new crops in various fields, and directing the gates of her waters in pulses that reach several ends at once.

Creating rules as she works, in the most playful sense, are key to her process. This is significant to her, she wasn’t aware of the rules (her own role in making them) when she was younger.  Being aware of them means being able to manipulate them, having control over who she is, a source of growth and joy for her as she becomes increasingly familiar with how much she can direct her own perceptions.

The works have a dreamy excess to them, colors outlined with frenetic ink strokes that fizz and pop, her elements in a halo of static electricity. A visiting art critic called these marks obsessive, and in art obsession is not a liability.  Spotting the grief in a particular work, Ross was delighted to hear it.  Even though there is a pleasant sturdiness, a kind of holistic whimsy that characterizes their outer glow, the devil is in the details, and the pictures are raucous records of many emotions and thoughts. The artist has in reserve specific information regarding what she was going through in a particular piece, but she’s not telling, expressing the sentiment of many artists, that she’s just not interested in telling others how to see.

In the culture of art there is a prevailing interest in favoring youth. Besides the obvious paradox in reducing the visibility of skill and experience, one misses the examples of possible directions the relationship with one’s self can take. Each decade has produced leaps forward for Ross, with the current vocabulary in her work feeling as though it is just a few years old. Beyond the arch claim behind a steady incline of experience, these periodic shifts are a kind of renewal. Each time, meeting herself as a new friend, creates room for new intimacy and understanding. (end RS)
LA Artcore website interview:

Shana Nys Dambrot, Art Critic
IMPACT OF LIFE  (catalog and video for LA Artcore August, 2014)

SOLD—"I Am The Egg!"; Man #3; 30x22; oil, watercolor, acrylic, ink on arches

SOLD—”I Am The Egg!”; Man #3; 30×22; oil, watercolor, acrylic, ink on arches

The only reason I wanted to stop and look at this particular piece is because I feel it has elements of all of the different things that I love, that are going on in other pieces throughout the whole show, but they’ve all found their way into this one image. What I mean by that is, for example, Karrie and I have been talking about this abstract figurative continuum. One of the things I love about a lot of the work is that, even though it all very clearly read as a pictorial space with objects and figures and actions, this piece, if you take out these seven little trees right there and you don’t see them, this whole expanse doesn’t even necessarily read as a horizon line anymore.

It reads as this very beautiful gestural…and this more forceful, and four to five different kinds of abstraction or abstract expressionism. Then you put these tiny, little marks a little ink, very little it couldn’t be more schematic. as far as describing a tree goes. There are a couple of them, and that’s it. Then, all of a sudden, this whole thing becomes a horizon line or a hill top.

You have this green color you read as a meadow or a grass or an natural space. You have all this stuff starting to read as a sky, weather, or atmosphere. You get this pictorial space, and all of a sudden, this egg form, it could very easily be a boulder. But you know, if you look throughout the work, that eggs are recurring imagery in the work.

All of the drawing that happens inside of it no longer takes away from it being this object that this figure is standing on. It reads clearly, “I know that there’s a lot of accidental brilliance that happened in here, and a few discoveries and things that were worked at and worked at, and then it looks simple and intuitive.”

"Bejeweled Fish"; 30"x22"; watercolor, pen&ink, oil, acrylic on arches

“Bejeweled Fish”; 30″x22″; watercolor, pen&ink, oil, acrylic on arches

I love this fish mostly because, if you take out just its head you don’t even have to take out the whole fish, take just head out all of a sudden, the whole thing becomes completely abstract, completely non representational. It becomes about the shapes, the colors, the textures, the tiny, tiny little mark making that’s super controlled, the splatters that are much less controlled, and those organic versus ritualistic shapes.

It takes on a completely different character, once you see the whole creature. Abstract. Fish allegory. All of a sudden, there’s narrative “What does that mean? Where does that come from?” and the symbolism that goes on in that.

Shana Nys Dambrot, Art Critic, Writer, Curate (transcribed from the show video)
Video can be seen at:

~Shana Nys Dambrot is an art critic, curator, and author based in Los Angeles. She is currently LA Editor for Whitehot Magazine, Arts Editor for Vs. Magazine, Contributing Editor to Art Ltd., and a contributor to the LA Weekly, Flaunt, Huffington Post, Palm Springs Life, and KCET’s Artbound. She studied Art History at Vassar College, writes loads of essays for art books and exhibition catalogs, curates one or two exhibitions each year, recently published her first work of short fiction, exhibits photography, and speaks in public with alarming frequency. An account of her activities is sometimes updated at

Betty Brown, Art Historian, Curator, Critic
“Our Ever Changing World” art review at the end of her foreword for Book One

Karrie Ross. I first saw her work in a three-person exhibition she screen-shot-2016-12-30-at-8-29-47-amhad at a now-defunct gallery on Abbott Kinney in Venice. Karrie contributed paintings, sculptures, and jewelry to that show. Seeing the diversity of media made me ask, What do they have in common? I had to walk around the gallery space to answer that question. Karrie’s work is intimate in scale and delicate in detail, so I had to get close—to lean into the work, so to speak—to see it clearly. And the careful, close viewing was richly rewarded. Karrie’s work is based on the interweaving of spiraling discs and thin, almost tenuous lines. Sometimes the discs are piled up, like plants growing in clumps. Sometimes the lines resemble roots or tendrils or vines.

Other times, the work abandons its biomorphic allusions and evokes our technological
environment: The lines and discs become tangled wires and exposed clockwork gears and
references to computer connectivity. Sometimes the discs become drops and dots that skip across the canvas. Other times, they are flowers or simply decorative backgrounds for what else is happening: larger images of trees or hands or silhouetted heads.

There is whimsy and delight in Karrie’s art. It tells visual stories that make me smile, that make me happy to see the quirky, humorous world she imagines

~Betty Ann Brown is an art historian, critic, and curator. She has told art historical stories at California State University, Northridge, since 1978. She tells stories about contemporary art in many magazines, including Artscene, Art Ltd. and Artillery. Her most recent book is Afternoons with June: Stories of June Wayne’s Art and Life. Brown is currently working on a survey exhibition of Wayne’s work for the Pasadena Museum of California Art. She hopes the exhibition will “tell the story” of Wayne’s creative life in a way that previous exhibitions have not done.

Interview in Easy Reader magazine by Bondo Wyszpolski
For the exhibition in San Pedro, SBC,  “The Faces Within” curated by Karrie Ross

“Karrie Ross has become fairly prominent in the local art scene, as an artist, a curator, but also for her anthologies, these being a series of books about artists with the general title of “Our Changing World: Through the Eyes of Artists.” These serve as chronicles or documents about what regional artists are thinking and exploring in their work. There are currently eight books available.”

Continue to interview review here.