“The visuals arrive much faster. It doesn’t seem like as much of a challenge,” she stated. “I value displaying my faith openly in my enterprise. It’s significantly more liberating.”

Karr mentioned that she previously encountered a priest at a wedding, who was insistent that she is an iconographer. Despite the fact that Karr has done a painting that, at the request of a client, borrows some elements of traditional iconography, the majority of her creations exist in a distinctly different style. However, the priest emphasized, “Your spiritual essence resembles that of an icon painter. I can see that you meditate through it.”

And this is so.

Recognition of the Holy Spirit

“Even if I’m not actively engaged in prayer, I’m still praying,” she remarked. “Even when I’m in artist mode, I’m conscious of the Holy Spirit.”

When she collaborates with a client to create a commissioned artwork, she prays alongside them and seeks the Holy Spirit for inspiration to provide an image for them. This occurred when a client requested her to depict Mary, Undoer of Knots.

She worked together with a client whose spouse is a mental health therapist and frequently experienced a dream featuring Mary in work attire, carefully unraveling the knots in an extended ribbon that glistens in the light cascading onto her shoulders.

Karr mentioned that, despite the fact that the image was created for a single client, it frequently moves individuals to tears, even if they were unaware of this longstanding title of Mary beforehand.

“I’ve witnessed the extent to which God can communicate through these visuals. Beauty possesses the ability to halt individuals in their steps and compel them to focus,” she stated. It penetrates the quiet, even a quiet we might not recognize.

“Numerous individuals in their connection with God believe he doesn’t communicate significantly with them. Even committed Christians may not feel the love of God manifesting in their lives,” she stated. However, at times, beauty may convey God’s message to them.

“It’s a partnership with the Holy Spirit. I’m continually inquiring,” she stated.

At times, that teamwork appears as a result of failure. While Karr was getting a parishioner ready to model for a painting of Mary, the bedsheet Karr used as a substitute for her mantle refused to remain on the model’s head, regardless of their efforts. Karr considered that perhaps they should simply omit it.

She paused, however, not wishing to depict Mary in a disrespectful manner; thus, she consulted the pastor.

“Father Anthony remarked, ‘In fact, Jewish women would only leave their heads bare in the company of family. And this occurs in the presence of the Holy Spirit.’”

They chose to engage with the circumstance and view it as a signal to uncover something more profound than they originally intended: Mary’s connection with and openness to God.

It was not the sole instance that an obvious coincidence piqued Karr’s interest during her preparation for the piece. She spotted the parishioner right away, admiring her rich, dark hair; however, she was unaware of her identity. She approached the priest and mentioned that she had discovered someone suitable for Mary. He was somewhat taken aback, as he, too, had already considered another person.

It was the identical woman — and her appearance was merely one aspect of the narrative.

“She entered with her spouse, and we helped her get ready. It was deeply moving to witness her transform into Mary,” Karr stated. “A friend inquired what it signifies for her to embody Mary, and she replied, ‘We lost our son to cancer a decade ago. I understand what it feels like to walk alongside a suffering son.’”

Karr stated, “I was thinking, ‘Wow. This isn’t my work. This project was entirely the Lord’s.’” She mentioned that she sensed the Lord was reaching out to this woman through her project, as well as to numerous others in the congregation. It’s a predominantly Hispanic parish, and she shared that the individuals in the pews are inspired and affected to witness a Holy Family that resembles them.

She additionally welcomed parish members to come and model for the different figures in the crowd, granting them an uncommon sense of ownership over the vast images that adorn their church (although she occasionally intentionally merges features of two or three faces, making the characteristics not easily identifiable as particular parishioners).

When art ministers

That artwork provided comfort to her, too.

“I was at a moment painting the Baby Jesus when my personal life was in turmoil,” she stated. “I felt distressed, and as I was working on his eye, all of a sudden the painting seemed to gaze back at me. The innocence of His being as a baby, looking towards me, and embracing me.”

That’s the initial occurrence of that happening to her.

“I recall feeling quite shocked. It was the result of my own hands showing me affection in return,” she remarked.

The Infant Jesus is the sole character in the two triptychs who gazes directly at the spectator, and she mentioned that numerous individuals have commented on how impactful it is to be met by the stare of that child.

That’s what Karr aims to achieve: To depict and assist people in perceiving something authentic. Karr also instructs art to high school students on a part-time basis, and besides her sacred and liturgical projects, she frequently creates live paintings at weddings. She believes the trend of employing a live painter reflects people’s desire to understand that both they and the affection they feel for their partner are genuine and significant.

“I don’t want it to resemble a photograph. That’s where my illustration talent plays a role. I’m developing a character and a narrative,” she stated.

Slowing down

“We all yearn to seize the moment intensely these days. We are all searching for significance. Every picture we snap, along with this heightened consciousness of our appearance — painting has a unique way of decelerating that,” she expressed. “You need to determine what truly matters and what does not.”

Following Karr’s decision to stop being incognito, she ascends a ladder to apply the final touches of light to her triptychs and then descends once more; she has multiple other long-term ambitions. One of these pertains to a ministry she collaborates with, Living Waters, which provides support for sexual and relational brokenness. The initiative is based on John Paul II’s theology of the body. She has illustrated a single chapter of their 20-chapter guide and aspires to eventually complete the remaining ones.

She isn’t rushed. She believes God is encouraging her to “take it easy and spend time learning how to paint the human form,” she mentioned.

Karr discovered a book on figure drawing from the 1940s, and she is gradually going through each lesson, enhancing her endurance and her craft.

“I plan to spend ample time on it. It seems significant,” she remarked.