Laura Garcia Karras
166 x 140 cm
Signed and dated at the back
60 x 50 cm
Signed and dated at the back
60 x 50 cm
Signed and dated at back
81 x 100 cm
signed and dated at the back
166 x 140 cm
Signed and dated at the back
The sequence of works in the exhibition is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. In this way, she combines a perfect aesthetic that refers to the canons of antique beauty with an almost abstract madness, creating a sensational and vertiginous painting. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. ‘Calisté', translated as ‘the most beautiful' in Greek, evokes the name of the nymph transformed into a constellation by Zeus.
166 x 140 cm
Signed and dated at the back
The sequence of works in the exhibition is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. In this way, she combines a perfect aesthetic that refers to the canons of antique beauty with an almost abstract madness, creating a sensational and vertiginous painting. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. ‘Calisté', translated as ‘the most beautiful' in Greek, evokes the name of the nymph transformed into a constellation by Zeus. Each of the paintings in the exhibition is named in tribute to a major woman for the artist. Here, ‘Carmen' refers to the storm that hit France in 2017 and to the great ballet created by Roland Petit in 1949.
166 x 140 cm
Signed and dated at the back
This painting is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. The painting is titled in tribute to a major woman for the artist.
166 x 140 cm
Signed and dated at the back
This painting is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. The painting is titled in tribute to a major woman for the artist. Here ‘Mae J.' refers to Mae Jemison, the first African-American woman astronaut to go into space in 1992.
92 x 68 cm
Signed and dated at the back
This painting is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. The painting is titled in tribute to a major woman for the artist.
92 x 68 cm
Signed and dated at the back
This painting is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. The painting is titled in tribute to a major woman for the artist.
92 x 68 cm
Signed and dated at the back
This painting is inspired by Derek Jarman's garden, whose flowers are grown on toxic soil near a nuclear power station. Laura Garcia Karras focuses on these atomic plants, transforming them into wild, almost devouring flowers. With an inner volcanic power, the artist plays with relationships of scale and artificial light. In this way, she redefines the boundary between artifice and reality, creating an explosive ambiguity in the perception of her works. The painting is titled in tribute to a major woman for the artist.
92 x 68 cm
Signed and dated at the back
195 x 175 cm
195 x 175 cm
180 x 150 cm
195 x 1175cm
195 x 1175cm
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
24 x 19 cm
Signed and dated at the back
180 x 140 cm
180 x 140 cm
100 x 70 cm
92 x 68 cm
30 x 40 cm
195 x 175 cm
180 x 140 cm
162 x 114 cm
162 x 114cm
40 x 30 cm
40 x 30 cm
195 x 170 cm
114 x 162 cm
162 x 114 cm
162 x 114cm
41 x 33cm
41 x 33 cm
Signed and dated at the back
40 x 30 cm
Laura Garcia Karras, born in 1988, is a painter whose work explores the boundaries of pictorial matter and the relationship between representation and nature. After studying at La Cambre school in Brussels and Beaux-Arts de Paris, she was honored in 2018 by Crédit Agricole Foundation and awarded third prize in Prix Antoine Marin. She has taken part in several exhibitions in Europe and Asia. Her work was recently the subject of a major solo exhibition in 2024 at MO.CO. Montpellier Contemporain.
Her paintings question materiality of the medium through processes that blend figuration and abstraction. Her exploration of vegetal motifs, particularly flowers, goes beyond simple aesthetic representation to transcend their symbolism. For her, painting becomes a space for reflection, both poetic and philosophical. Using techniques that combine clean surfaces and free brushstrokes, she creates compositions that play with light and depth, superimposing scalpel-cut shapes and flat areas of color.