Each time I see a new work by Cory Goulet pop up on socials, I’m mesmerised by the colours, shapes, and marks. They have this alive energy, like the canvas is breathing. I think, wow, I’d love to make work that expresses the rhythm and energy of life in that way. And every time, a little voice in my head whispers: Get Cory Goulet as a guest on HowToPastel! Finally, I listened — and yay, here she is! I’m so pumped for you to not only see her work but to peek behind the curtain of her process — how she steps into the unknown and lets intuition lead the way.
Don’t know Cory Goulet’s work? Have a look!
Before I hand over the blog to Cory Goulet, here’s a wee bio.
Bio for Cory Goulet
Cory Goulet is an award-winning master pastelist and mixed media artist. She is a Master Circle Recipient with the International Association of Pastel Societies and a Signature Member with the Pastel Society of America. Cory’s paintings have been exhibited in national galleries, museums, and several art publications. Cory has won multiple honours in the Pastel Journal – Pastel 100 competitions, and also Acrylic Works and The Artists Magazine. Check out more about Cory Goulet and her work on her website.
And now, here’s Cory!
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I am Cory Goulet, an abstract, non-representational painter living and working in the Pacific Northwest. After many years balancing art alongside a corporate career, I made the decision in May 2024 to leave that world behind and fully commit to being a full-time artist.
It has been scary and exciting all at the same time, marked by a renewed dedication to following my passions honestly and intensely. For me, being a full-time artist means more than just creating art; it means treating my practice as a full-time business, setting ambitious goals, and actively seeking opportunities to share my work with the public.
Painting for myself, without the constraints of external expectations, has opened up new avenues for creativity and self-expression. With that said, I have been fortunate in finding many new opportunities for showcasing both my collage and pastel work. Despite the difficulties, I believe it’s never too late to pursue one’s dream and make a meaningful impact through art.
A little about my process. My artwork embodies an abstract, non-representational, intuitive style. I strive for my work to have a purpose with a sense of energy and looseness. My process explores the interplay of lines, shapes, and colours. I aim to create a dialogue between chaos and harmony. I’m an artist who enjoys experimenting with innovative ideas and different techniques. I feel it keeps my work fresh, and trying new things can help us grow as artists.
I don’t use any reference material as an abstract painter; everything you see emerges from faded memories, travel abroad and experiencing other cultures, and the complex emotions of day-to-day life.
These days, many emotions inspire my work.
In my work, I enjoy using bold colours and creating dynamic compositions. I aim to challenge conventional boundaries, provoke introspection, and raise awareness about our environment. I want to spark a conversation. Each piece emerges from a spontaneous exploration of materials, driven by intuition and the subconscious.
Before every painting session, I begin with a short breathing exercise to clear away mental clutter and tensions I may be holding. This practice helps me ensure that I create from a happy, centred place. When life throws a negative curve, while I am resilient, I choose to pause painting and wait until the feeling passes. Life can be hard enough, and I do not want negativity reflected in my work—that is not what I am about.
My process starts with a series of small warm-ups on paper or homemade pastel boards. I gradually move to larger papers or boards using charcoal, pastels, inks, or even gesso and alcohol. Larger substrates give me the freedom to move, and most of my work is done on a larger scale.
I like to work wet into wet as I’m building up layers, letting interesting shapes and lines evolve freely. I work both with my papers on the easel and on the floor. These warm-ups are simple exercises meant to loosen up both body and mind before entering an intuitive painting session.
Music plays an important role in my process; it helps me move freely, gives me a sensation of energy, speeds me up or slows me down, and supports getting into the true experience of intuitive painting. It fosters openness and receptivity to what is developing in front of me.
All my work begins similarly: with warm-up mark-making sessions using various tools such as charcoal, pastels, gesso, ink, or even collage elements. I use a range of large and small paintbrushes to mix things up. I may pre-select a few pastel colours or certain types of paper to start, but there is very little pre-planning beyond this.
Unconventional tools frequently find their way into my work: homemade brushes crafted from old brooms, paintbrushes or pastels attached to long branches, clear gesso with a heat gun to add texture. These tools help create loose, spontaneous marks and textures that encourage uncontrolled images, keeping my marks lively and authentic.
Next, I will either start with a fresh piece of paper or further develop one of the warmups. I am focused and engaged, seeing what is in front of me, and responding to it. This is where all the intuitive magic happens. Time passes without even knowing it (the well-known “zone”).
I do not enter the process with preconceived ideas of a finished product. If something emerges and I’m happy with it, the work speaks to me—that is a bonus. It doesn’t always happen, but when it does, it’s pure joy because it’s hard work getting there.
Working this way can be very challenging at times; it is easy to get distracted and lose focus, but the more you paint this way, the more intuitive and natural it all becomes. But it does take practise; painting intuitively does not happen overnight. The artist has to make time to practise this technique; you must actively create in an undistracted and quiet (except for music) space and commit.
I also recommend that readers interested in this approach do some light reading on the intuitive painting process (with a bit of science behind it) – check out Diana Sanford’s JAM Session handbook from her website. Working with Diana and assisting in the JAM workshops (workshops at Dakota Pastels and IAPS has been instrumental in helping me articulate and better understand my own painting practice and the JAM Session handbook offers valuable exercises that blend intuitive creativity with gentle scientific grounding.
Another resource is the TED talk by Ian McGilchrist and how our brain’s left and right hemispheres function. Understanding these hemispheres can illuminate the right hemisphere’s role in intuitive painting—how creativity and emotion can be embraced while the analytical left hemisphere steps back.
Not IF but WHEN I find myself unfocused or struggling with where to make marks or overthinking or judging my work too soon and not seeing what’s in front of me (when I recognise I am not in a receptive mode), I will step aside, take a short break, change up the music, and come back to the easel with a renewed focus and commitment to be present at the easel for a designated amount of time. Recognising this can be challenging, but it can be mastered with practise.
This is still not the time for any judgment; those details are worked out later in the refinement stage. I will continue creating layers of pastels, use a fixative if needed, or use inks or a variety of other materials as I further develop the work. I tend to be heavy-handed, and my pastel works can get messy, but that’s just part of the process. Since most of my work is a larger format, I like the larger pastels made by Unison Colour and Sennelier’s Eggs as they allow me to move on the larger substrates freely and without constraint. I can even dance!
When I reach the point that adding another mark or layer no longer adds value, I step back and evaluate critically. I begin adjusting the work as needed but am mindful not to overwork the painting. But it does happen sometimes, as it does for many artists. When this occurs, I do not get hung up on the piece; I simply start fresh. It’s only paper, and I do not pressure myself to keep working on something that isn’t authentic or working; such pressure would be evident in the results, producing contrived work.
I continue to work the image and you can see how much it changes.
Sometimes when I’m stuck or feel the work is not progressing, I let it sit on the easel for a few days. If it still does not develop, I take it outside and spray the paper with the hose. Several of my most successful works began this way. This technique often leaves ghost images on the paper, offering a new way to start. This procedure works best with pastel boards because they do not buckle, but this technique can also be done with heavyweight paper left flat (without tape) to dry.
One important point to keep in mind is that these warm-ups and partly finished works are not precious. It is okay for them not to turn out. We must allow ourselves to fail to grow. We often learn more from our “unsuccessful” paintings than from the successful ones. I have had many failed pieces and accept that as part of the process.
While my style is non-representational, any final work must stand up technically, just like any other style. When evaluating my paintings, I ask:
- Does my eye move across the painting naturally?
- Do I get stuck in any one area?
- Does the work direct my view off the image?
- Is it interesting?
- Does it contain a variety of values (I aim for 3 to 4)
- Are there a variety of marks, marks with different pressures
- Are there lost and found edges?
Ultimately, my work must say something to me. Sometimes it tells me to stop and start over; other times it evolves into a piece I feel would make a great starter conversation. Ultimately, my artwork is a dynamic balance of intuition and skill, shaped by years of practise and ongoing discovery.
As I continue this artistic journey, I am constantly reminded of the power of creativity and the vital importance of following one’s passions. The transition from corporate life to full-time artist has brought challenges but also immense rewards.
Each piece I create reflects my dedication to exploring new ideas, pushing boundaries, and expressing my innermost emotions. I am excited by the future and the possibilities ahead. Through my art, I hope to inspire others to embrace their creativity, take risks, and pursue their dreams, no matter how daunting those dreams may seem. After all, it is never too late to reinvent oneself and make a meaningful impact on the world.
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Isn’t Cory’s process inspiring? I love how she shows us that painting intuitively isn’t about waiting for magic to strike — it’s about showing up, practising, and trusting what unfolds on the paper. Add in her courage to leave corporate life behind and fully embrace her art… well, that’s a story we can all take heart from.
Now I’d love to hear from you — what resonated most? Was it her fearless mark-making, the way she balances chaos and harmony, or the boldness of leaping into full-time art? Share your thoughts in the comments below — let’s celebrate Cory’s journey and see what sparks it might light in your own art-making.
Until next time!
Gail
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