Organic Abstraction

Shar Coulson was the Second Prize winner of International Artist magazine’s Challenge No. 118, Abstract/Experimental Art

Chicago-based artist Shar Coulson often refers to her work as “Organic Abstraction,” as it is sits between figural and abstract and reflects her love of nature and the human form. Coulson is trained in classical figurative realism, but her passion came when she tapped into nonobjective work. She says, “It wasn’t long before I unmasked in my paintings the organic shapes found in nature. Fauna, flora and on occasion figural elements—as obscure as they may be—are hidden within.”FaunaFloraFigure154, mixed media on linen, 40 x 48"

FaunaFloraFigure166, mixed media on linen, 40 x 48"

Having recognized this early in her artwork, Coulson uses one series title, FaunaFloraFigure, which “enables the viewer to embrace their own unique perception, allowing unlimited viewpoints seen within a single composition.”

Nature is by far Coulson’s greatest inspiration and she interprets it unpredictability and beauty in her mixed media pieces. “I think of each painting as a visual poem, inspired by the space between the wind and the water, the fauna and the flora. When the color, texture and gestural shape-matter come together harmoniously, the painting becomes itself,” she explains. “Although I am primarily a studio painter, I do periodically paint in plein air. I love the direct exposure to nature, it allows me to ‘gathering truths’ through all of my senses, building an inventory of shapes, textures, colors and feelings that I will later draw upon in my studio.”FaunaFloraFigure163, mixed media on linen, 40 x 50"

FaunaFloraFigure165 (diptych), mixed media on cradled board, 24 x 48"

Most of Coulson’s paintings use no reference materials and instead grow intuitively as she paints. There are certain elements, however, that often appear in her artwork including organic textures, grayed color harmonies and rhythmic gestures. “Although I would hardly consider myself a colorist, I am deeply passionate about color,” Coulson says. “Yes, color immediately connects us to our emotions, but I also use it as counter point to line and gesture. If, for example, I’m creating strong gestural energy through line and shape, a calming color palette of pinks and golds will slow the motion to a flutter.” —