Karen Gehres is a tried and true New Yorker through and through. An accomplished film and television producer, her work is included in the Library of Congress. But for years she supported herself through her work as a painter, selling her work on the street. Madonna even purchased one of her pieces. Finding inspiration from those city streets, especially in the quiet of the mornings, the artist has a talent for capturing the Big Apple in all its grit and glamour. Gehres spoke with us about her craft and her love of the city that never sleeps.
You are both a filmmaker/producer and painter. How would you say the two intersect? And how are they different?
There have been many times when the filmmaker/producer and visual artist skills in me have united. When planning shoots, working with the crew to compose shots and when I’ve had to shoot my own docs, the painting skills have benefited me greatly. I had great training at my alma mater, Parsons School of Design. It laid a foundation from which all composition, color and aesthetic sensibilities grew. Working as a filmmaker/producer and creating something as a painter are very different too. The main difference for me is that as a painter I can make something on my own. I am not dependent on anyone else to create something. It is usually an act of solitude. Filmmaking and producing requires others to fund, execute and bring a vision to reality. It’s more of a team effort that can be just as rewarding.
Do you think that one art form informs or inspires the other?
The way I see it, it really doesn’t matter the medium. I think the idea dictates the best way to express it. Some visions are best realized in a painting while others may be a photo, a video, a sketch, a film. There was a time when painting wasn’t enough for me. I needed to express my ideas in film because I had a story, a character, great visuals and I wanted it set to a great soundtrack. That’s film to me. So I had to set about trying to learn how to make that happen for myself.
Your work is intrinsically tied to NYC. Tell me about your New York story, and how you’ve seen it change over the years.
I remember the first time I saw NYC. It was in National Geographic magazine. I was very little. I was amazed by the photos of all the businesses open all night. I showed my Mom and asked her “Mom, what is this place?”. She said “Oh Karen, that’s NYC, the city that never sleeps!” Well, that was it for me. I had a singular goal to get to NYC as soon as I could. I have loved it like a person. I could give you a long laundry list of how the city has changed. But I still see the magic and powerful energy in the shadows of our streets. Some places just have the same heartbeat as your own. That’s NYC for me. I can’t imagine ever leaving it. It has saved me many times over.
In terms of your film work, what projects are you currently working on?
I am a field producer for film and television. I work freelance so it’s whatever comes my way. I love production. I’ve worked for the studios, true crime, corporate and on my own documentaries. I have a lot of footage shot on a personal doc called One-Armed Bandit: A Family Affair. I am in a bit of a limbo because I need to find an editor to complete it.
What drew you to painting in the first place? How did you discover your passion and talent?
I’ve always drawn and painted. In high school it really kicked in and got me a college scholarship. After I graduated, I tried to make a living as an artist and did everything from decorative painting in rich people’s homes to selling my paintings on the streets of SOHO. Fun fact, Jon Bongiovi, Madonna and Curt Smith from Tears for Fears bought my work during that period. Eventually I got into film/television production and put the painting on the back burner. For many years I only concentrated on film and television work. It was during the Covid lockdown in NYC that I turned to painting again. It was a Godsend. Painting kept me sane and good came out of it. I’ve been in a few shows since then and have sold many pieces. I’m very grateful to have the ability to creatively pivot when needed.
What inspires you most to paint something? How do you come upon your next painting?
Oh it could be anything at any time. Since I still get inspiration from the streets, I clock and take note of a certain light hitting a building, a mood, or a scene I’ve passed a million times but truly see for the first time. There has to be something magical about it for me. Something that needs to be painted. I try to capture that mystery. The city is a great source of unexpected enchantment.
What are some of your favorite New York City places?
I love early morning NYC. Being out in the streets when things are just starting to awaken is wonderful. There’s nothing else like it. Also, believe it or not, I love riding the subway (when not dodging homicidal maniacs). I love especially long train rides out to Coney Island or up to the Bronx past Yankee Stadium to Woodlawn. It relaxes me so much that many times it lulls me to sleep. And like many long-time New Yorkers, I miraculously wake up right before my stop.
Begging Naked is a really gripping, surreal story in which you capture the real life story of your friend and her struggles. The film was given some great accolades. What was that like to capture the personal story of your friend and her struggles over the years? How is she doing now? Are there any updates to share from when the film was released?
Working on Begging Naked was the best and worst experience at the same time. It started out as a way for my friend Elise to tell her story and I was just still learning the art of documentary filmmaking. Neither one of us could have predicted the brutal and upending events that unfolded as we went along. Watching my friend become more and more out-of-reach due to mental illness was completely draining. It can be all consuming. So, at a certain point, self-preservation took over. I know there are many that will understand this. Since the film’s release, it has screened and been televised worldwide. Roger Ebert championed it and my film hero, Martin Scorsese, watched it and gave it an amazing review and precious quote. Also, Begging Naked was selected to be included in the permanent collection of The Library of Congress, a rare honor. Elise is still making her art. She focuses mostly on wildlife in Central Park with great detail. She did live in someone’s apartment, off Central Park for a few years, rent free. However, recently that situation ended and she is currently homeless.
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