Peacefully working from her home studio on Vancouver Island, Karen Dance pursues her desire to create out-of-the-ordinary pottery pieces. Karen is inspired by the human form, natural movement, expressive features, and all the wonders found in nature. With over 35 years as an artist in many mediums, it was the melding of Karen’s education at CMU Creature design and prosthetics along with Ceramics training at Sheridan college that led her on this path of exploration.
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Do you start with an emotion when you make your characters?
I would say no. Emotions will come forward but I don’t necessarily start with an emotion before I put my hands to the clay.
Do you see a monster in the clay when you start? Do you see that character before you start working on piece?
If I have been asked to make it, no. If I am doing it just because I want to, yes. I can see it there.
Why does that change how you approach the piece?
The pressure. The pressure of trying to make something amazing for somebody and they give you free reign and having absolutely no pressure, just oding whatever my hands want.
Do you ever repeat a piece? Repeat a monster?
Occasionally, if I have a customer who saw something in my shop that they would really like me to make. I will make several of those but they are not always the same. How can they be?
Do you find that the majority of the personality comes out in the eyes or is it the mouth. Where is the seat of the personality in your work?
There’s a real nuance when you are putting to character to life. When you are introducing yourself to it. It can be really subtle. It can be the eyebrow. It could be the smirk. So I would say mostly from the eyes but it can also be from something really subtle.
What would make a monster a second?
It would have to be a glaze flaw or a crack, that’s sort of thing. I tend to not sell them if they are duds.
How much time in a week is spent in the studio? An average week?
An average week I would say six to eight hours a day. Upwards to ten off and on. More than I should. Less than I could.
I recently had the joy of chatting with Karen Turner about her latest series, “Why Do You Have To Be So Emotional?” This series – from which, as I’m writing this, just three pieces remain – delves deep into the societal regulation of women and gender minorities. Unlike her previous projects, though, this collection extends beyond exploring the physical form to encompass the policing of tone and emotion.
By Sophie Heatley | 04 Jul 2024
This isn’t to say Turner’s previous works don’t venture into the emotional realms of her subjects; it’s a challenge not to engage in introspective viewings of her portraits that physically swell with individuality and character (despite purposely “containing” them within smaller canvases to present how society “boxes” women in). Rather, these new works directly ask viewers to evaluate the judgments and biases they may hold when it comes to emotional expression. For example, Turner pointed out, “Nowadays when a man cries it’s often seen as a sign of bravery, when a woman cries, it’s seen as hysterical.”
Portraits have always been Turner’s focus, driven by her fascination with how we mould our appearances, and in this case, our emotional expressivity, to fit societal expectations. Turner is known for celebrating larger female forms in her vivacious oil paintings, and commentaries on its right to take up space in a world that tries to constrain it.
Despite the joyously outspoken nature of her pieces, Turner’s process is quietly refined and delicate, painting with only the smallest paintbrushes. This meticulous approach means her works often take months to complete. Turner sets Why Do You Have To Be So Emotional? apart from her earlier works, known for their slick white backgrounds and diligent detail, by using muted Miami pastels, sky blues, and candy-coloured hues. This choice is not merely experimental; the peachy palette serves as a contrasting backdrop to the dramatic expressions of her subjects, further illustrating the double standards placed on women regarding emotional expression.
Cheer Up by Karen Turner (oil on linen, 2024, 50 x 40 cm)
Although coloured, the backgrounds remain clear. Turner explains, “I just love the look of flesh next to clean linen and the intensity of the face and body against the backdrop. I also like to show my subjects away from any background as a reminder of how we judge people without any context. I want people to consider how this makes them feel.”
Despite the visceral anger and frustration emanating from works in the series, the pieces empower and uplift. Turner advocates for not just the exposure of women and larger bodies in the arts but the celebration—rather than the grotesque interpretations often seen in the works of artists like Lucien Freud and Jenny Saville. “I love their work! It’s just not the message I want to transmit.” Turner asserts, “I want my paintings to be about people saying, ‘I don’t care what society thinks; this is what my body looks like, and I’m not going to hide.’”
Too Intense by Karen Turner (oil on linen, 2024, 50 x 40 cm)
Turner continues to invite viewers to not only question societal standards but also to celebrate individuality and authenticity. The series stands as a testament to her evolving artistry and commitment to challenging the presentation of women and their gloriously hysterical bodies in the arts and beyond.
“The art world has historically overlooked the rich diversity and contributions of Latinx artists, and I wanted to address this gap by providing visibility, support, and a space where Latinx voices could be heard and celebrated.”
By Sophie Heatley | 11 Sept 2024
What inspired you to found the Latinx Art Collective, and what specific gaps in the art world were you hoping to address?
I founded the Latinx Art Collective because I became acutely aware of the significant lack of representation and recognition for Latinx artists. My own experiences, coupled with the stories from others in my community, highlighted the need for a platform that could celebrate and elevate Latinx art and culture. The art world has historically overlooked the rich diversity and contributions of Latinx artists, and I wanted to address this gap by providing visibility, support, and a space where Latinx voices could be heard and celebrated.
How has your personal identity and experiences influenced your decision to create this platform?
My personal identity as a Latina and my experiences navigating the art world have profoundly influenced my decision to create the Latinx Art Collective. Growing up, I rarely saw artists who looked like me or shared my cultural background represented in mainstream galleries or museums. This lack of representation, combined with the challenges I faced in finding a sense of belonging in the art community, motivated me to create a platform where Latinx voices are centred, celebrated, and empowered to share their stories authentically.
Tropical Garden by Victoria Stagni (oil on canvas, 2024, 76 x 100 x 4 cm)
Your online presence as “Latina in Museums” has gained significant attention. How do you leverage social media and digital platforms to further the goals of the Latinx Art Collective?
My platform serves as a bridge, connecting underrepresented artists with followers who might not encounter their work otherwise, and I use it to advocate for greater representation and inclusivity in the art world. By tapping into the power of social media, I’m able to create visibility, drive conversations, and mobilise support for the Collective’s mission on a global scale. But the goal of my personal channels is also to show a lesser seen side of museum work, where I share my own journey, including the ups and downs, failures, and challenges I’ve faced. I also showcase the achievements and opportunities to demonstrate that these experiences are possible for our community. This transparency helps build a relatable and inspiring narrative, encouraging others to pursue similar paths and showing that success in these spaces is achievable.
Pillow Talk by Javiera Estrada (archival pigment print, 2015, 68 x 68 cm)
In your opinion, what are the unique challenges and opportunities that digital spaces offer for promoting underrepresented artists?
The vast reach and accessibility of digital platforms provide a powerful opportunity to amplify voices that are often overlooked, allowing artists to connect directly with global audiences and build supportive communities. However, these spaces also come with challenges, such as navigating algorithms that may not favour diverse content and the need to stand out in an oversaturated online environment. Despite these challenges, digital platforms remain essential for breaking down barriers and creating visibility for underrepresented artists in ways that traditional spaces often cannot.
Karen Vidangos taking part in a Q&A
What are some common misconceptions about Latinx art and artists that you encounter, and how do you work to challenge these through your platform?
A common misconception about Latinx art and artists is the assumption that the work is always centred around themes of race, immigration, or cultural identity. While these are important subjects, Latinx artists, like their peers, also explore a wide range of themes, including politics, technology, time, the environment, and more.
Through my platform, I challenge these narrow perceptions by showcasing the diversity and complexity of Latinx art, highlighting how our community engages with a broad spectrum of ideas and creative expressions. By featuring artists whose work shows the entire breadth of our creativity, I aim to broaden the understanding of Latinx art and demonstrate that Latinx artists contribute to all areas of artistic discourse.
What role do you see the Latinx Art Collective playing in the broader conversation about diversity and inclusion in the art world?
The Latinx Art Collective actively challenges the underrepresentation of Latinx voices and creates a space where these artists can thrive. By amplifying the work of Latinx artists and fostering a supportive community, the Collective pushes for a more inclusive art world that recognises and values the contributions of all artists, regardless of their background. We aim to not only increase visibility for Latinx artists but also to reshape the narratives around diversity and inclusion, advocating for a more equitable and representative art landscape.
Karen Vidangos at Venice Biennale 2024: US Pavilion represented by Jeffrey Gibson: “the space in which to place me”
What are your long-term goals for the Latinx Art Collective? Are there any upcoming projects or initiatives you’re particularly excited about?
My long-term goals for the Latinx Art Collective are to continue building, improving, and expanding our platform to better support and showcase Latinx artists. I aim to collaborate with a diverse range of organisations that are doing exceptional work in promoting Latinx art and culture, creating opportunities for mutual growth and impactful projects. I’m particularly excited about upcoming initiatives that involve partnering with institutions and curators to bring more visibility to Latinx artists and their work. By working together with these wonderful organisations, we hope to create a more inclusive and dynamic art world that reflects the richness of Latinx contributions.
What do you hope the future of the art world looks like in terms of representation, and what steps do you think are crucial to getting there?
I hope the future of the art world is characterised by truly diverse representation, where artists from all backgrounds are equally visible, valued, and celebrated. This includes not only increasing the presence of underrepresented artists in galleries and museums but also ensuring that their diverse voices and perspectives are recognised as integral to the broader art discourse. Crucial steps to achieving this vision include implementing equitable practices in curatorial and hiring processes, actively supporting emerging artists from underrepresented groups, and creating platforms that amplify diverse voices.
Together by Marta Grassi (acrylic on canvas, 2024, 100 x 81 cm)
Looking back on your career and the evolution of the Latinx Art Collective, what has been the most surprising or unexpected part of your journey?
Looking back on my career and the evolution of the Latinx Art Collective, the most surprising and unexpected part of the journey has been the incredible support and recognition I’ve received. Entering and thriving in the arts, a field known for its difficulty and exclusivity, was something I never imagined would happen.
Reflecting on my parents’ sacrifices as immigrants in the 80s fills me with deep gratitude and emotion, reminding me of how far we’ve come and the gift this journey has been. The outpouring of support from people across the country and the world—those who are aspiring to be in the arts or already doing amazing things—has been overwhelmingly moving. It feels surreal and humbling to see how my little dream has resonated with so many, and I am continually awed by the community that has embraced and supported me.
How do you stay motivated and inspired in your work, especially when facing challenges related to representation and inclusion?
I stay motivated through the incredible support and love from my family, my friends who lift me up and encourage me to keep pushing forward, and my pug and little gallery girl, Marcel, who is my anchor to the real world when I’m feeling a little lost or down.
The dedication and passion of brilliant individuals—curators, writers, artists, and community members—who work tirelessly to support and uplift the Latinx community inspire me daily. Seeing the great things we can achieve when we come together fuels my commitment to doing what I do. Their belief in our collective work drives me to keep going, continuously challenging and inspiring me to make a difference.
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