Calisté

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.

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.

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 ‘Mae J.' refers to Mae Jemison, the first African-American woman astronaut to go into space in 1992.

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. 

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. 

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. 

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.