Sherry Karver

Sherry Karver


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Sherry Karver has had over twenty-five solo exhibitions including at the Oceanside Museum of Art, Oceanside, CA; The Morris Graves Museum, Eureka, CA; and the Peninsula Museum of Art, Burlingame, CA. She is currently represented by the Patricia Rovzar Gallery, Seattle, WA; Stremmel Gallery, Reno, NV; and the Shayne Gallery, Montreal, CN. Her work is in over 175 private, corporate, and museum collections and has been featured in ArtReveal Magazine, Edge of Humanity Magazine, Bokeh Bokeh Photo, among many other publications.

A photograph of people walking along a square
Sherry Karver, The Inner Lives of Shadows. Oil, photo images, resin surface on wood panel, 32” x 32” x 2”

The Inner Lives of Shadows

See her work in Vol. VIII #2

“Pushing traditional boundaries of oil painting, photography, and text, I have combined them to create a unique hybrid that confronts today’s individual and societal issues so rampant in our impersonal metropolitan areas: alienation, loneliness, loss of identity, the passage of time, memory, self-image, and how others view us. These mixed media, photo-based works originate from photographs I have taken on city streets in New York, Paris, Milan, etc. and in iconic buildings such as Grand Central Terminal and the Metropolitan Museum of Art in NY. I write text over some of the figures in my photos as a way to personalize individuals, and make them stand out from the crowd since we each have a unique story to tell. These brief narratives are from my imagination, based solely on one’s appearance or stance. By using text in my work, it adds another layer, and gives the viewer a chance to ‘experience’ the artwork, and become part of the process by reading it. I superimpose these ‘biographies’ on top of the individuals, almost as if they are wearing their stories like an article of clothing. I give a little bit of fictional history about the person; where they are from, their age, what they do, their hopes, their dreams and aspirations, and often something embarrassing or personal that they would rather not have revealed. The figures are often caught in movement, conveying our individual journeys, where we are all ‘collectively alone.’”


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