Cornman talks about the layering and building with joint compound technique she uses on her paintings. Photos by Susan Monroe

Lorel Cornman’s studio is alive with a plethora of unfinished work. The studio, the art, aren’t at all stagnant, rather, the studio beckons and the work begs completion. Tactile, bold and practically moving on their own volition, Lorel’s work is not to be ignored.

Lorel, a prolific producer and seller of her textural multi-layered abstract art, has favorite pieces hanging confidently in her home. Her artwork also graces homes and other spaces from New York to Los Angeles and elsewhere.

Excerpted from Lorel’s website statement, with minor extractions, are her own thoughts about her artistic process. She describes her work as “abstract and metaphorical.”

She wrote, “Each painting, or series, is its own event in my life for a period of time …

“Primarily, I’m an abstract painter, although I allow, even encourage, references to the natural world — both literal and metaphorical — to have their own way …

“I make my own paint, using raw pigments and Venetian turpentine, mixing paint as I go. I work on wood panels to which I apply joint compound with various tools, coaxing material into a sculptured surface. I then stabilize the surface with several coats of polymer varnish …

“During the course of painting, as I apply layers of pigment, I use fine steel wool to bring up colors from the under layers. Since substantial drying time is involved, I work on several pieces concurrently.”

Lorel’s art awards include Art Alliance of Idyllwild’s 2000 Artist of the Year.

Unfinished pieces in Lorel’s studio call to her, waiting to be finished, wanting to be set free. When free, then they can be exhibited, appreciated and admired, like art ought to be.

Lorel Cornman in her studio.