FROM APRIL 28 TO JUNE 3 2017
Opening on Thursday, 27 April 2017
Born in 1988, living and working in Paris, Laura Garcia-Karras is a graduate of La Cambre, Brussels and of the Ecole Nationale Superieure des Beaux-Arts, Paris.
Galerie Comparative is pleased to present eight of her latest works produced for the exhibition.
Her practice gives birth to an unceasing exploration of plastic possibilities in the context of abstraction, which she constantly puts to the test of figurative juts, of a play between bi- and three-dimensionality, of syntax confusions.
In non-gravitational space, practicing a sport constrains the astronaut's body to be strapped. Combining the roundness of arborescences with the angular geometry of meanders, the works of the exhibition at the Comparative Gallery operates a balance between the strap and the weightlessness.
In this series of works, the mistreated point of view, the bottom views, the patterns that circulate in all directions and the drips of paintings in the opposite direction of gravity encounter anchored "meanders", ordered pipes, acting as distances from nature.
Thus, when Laura Garcia-Karras, who is originally an abstract painter, tightens her relationship to reality by creating widely recognizable compositions, she counterbalances the very facticity of painting by means of a technical process,.
Laura Garcia-Karras superimposes different independent layers in which cuts are made that reveal underlying zones and details.
First work of composition and second of counter-composition deconstruct the principle of "mise en abyme", which consists in making coexist the illusion and the act of unmasking it. Here, as when the real ity is reflected in the water of the lake, which is the thin film where meeting and distanciation coexist, the illusion and its mask both lie on the canvas.
In an interdependence between the precision of her cuts and gestural impulse, between a decorative surface and the accidents of matter, between the traces of the brush and the careful veil of illusionism, the motifs from a deteriorated or exalted world recreate the conditions of the hybridization of Nature: hybrid nature in its own matter, hybrid nature in its own reigns, hybrid nature in the different degrees of its representation, from the most realistic to the most abstract.
Always cruelly ambiguous, Laura Garcia-Karras' pictorial propositions unceasingly redistribute the traditional oppositions around which the question of representation gravitates ; artificiality and nature, entropy and conservation, order and chaos.
SEE THE WORKS