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Influences - Deborah Kolp Fine Art

My Creative Influence

What does Paul Klee, Kandinsky and an Orthodox priest, iconographer / Moscow university physics professor have in common?

An intersection of art, science and contemplative prayer.

This is somewhat summed up in the recent compilation of Pavel Florensky’s lecture notes in the book – “AT the Crossroads of Science and Mysticism”.

All of the above identify art as a boundary that has the ability to break down universals into simplified particulars. The building blocks of what we see and ascertain as the whole, complete and therefore beautiful are construed of basic elements consisting of line, color and form. Paul Klee, in his “Pedagogical Sketchbook” defines four principles:

1. Proportionate line and structure
2. Dimension and Balance
3. Gravitational Curve
4. Kinetic and Chromatic Energy

These principles are inline with Kandinsky’s process of ‘painting music’ thereby bringing the invisible into the concrete visible realm of time and space through visual art. Pavel Florensky was a contemporary and friend of Kandinsky – documented in essays in a book titled, “Beyond Vision”. Therein lies the mystical person in this triptych of ideas re-envisioned for the era they embodied.

“Pavel Florensky has often been described as the Leonardo Da Vinci of his time…his relevance to both sciences, humanities and especially visual arts …professor in Moscow 1921-1924…established a theory of spatiality in the work of art.”
-Beyond Vision pg. 30

Florensky considered the human experience of dreaming to be a symbolic threshold to the eternal or heavenly realm. His exhortation to the artist was to pull those symbols down into this temporal, concrete reality. This would be our aid to approach higher truths.

Hildegard of Bingen, a 15th century German nun was a not so distant an echo of these modernists concepts. She synthesized contemplative prayer with music, theatre and visual symbolic imbued mandalas to communicate the union of micro to macro cosmic spaces unified in God. These are my creative and ideological inspirations primarily because of my personal resonance with these timeless truths.

So like a building constructed throughout time and epochs, I am adding my piece through creating art and teaching. The plumb line is somewhere between our awareness of eternal realities and how those are expressed in a unique way through visual expression.

My collectors and classes

Collectors are primarily therapists, commissions for Catholic and Anglican worship spaces in addition to art auctions benefitting hospitals and neighborhood associations. I’ve taught and written curriculum for  private and public school settings along with programs for at risk youth through The Indianapolis Art Center and Art With a Heart.  More recently, have enjoyed working with an art therapy studio doing process based classes called “creative spirit”.  I presently teach student, adult classes and art retreats at The Art Lab and private lessons at my home studio.


Happy Students


Weeks until next retreat


Pieces shown


Rejuvenating retreats

What risks have you taken in creating your work?

The risk of not knowing the outcome. Loss of control.  Most of my work, in terms of process or content,  has come from some extremely raw places. I experientially work it out, spontaneously using materials I’ve never worked with in ways I’ve never seen with the sole need to see it though.

How can A&O readers collect/ experience your work?

I am presently offering art retreats that combine lectio divina based meditation with the artistic process.  Mark making and color are just means by which we can all make the invisible and internal – visible, making prayer an incarnational experience. I offer an art retreat on the Liturgy of the Hours at  my home studio, and by invitation at retreat centers, churches and schools.