From June 16, 2016 to July 22, 2016

Laura Garcia-Karras ​is an artist who's constantly in search for pictorial solutions. In several pieces of this series, she ​reinterprets canonical themes of painting—Annunciation, Lives of the Saints, Self-portraits—and turns them into formal avatars that are as grotesque as they are sacred.
The painter uses the same recourse to a formal and expressive synthesis for her own subjects and those she seeks in the repertoire of the Trecento and the Quattrocento—Giotto, Fra Angelico, Botticelli—shapes that are not yet perfectly formed, oddities that lead to another age of vision.
Above them, she extends tree-lined patterns, meticulous repetitions of foliage that chromatic changes animate into infinite variations. Her paintings are a series of seasons—yet, more seasons than our four. These are seasons the Fates could have invented.
By her process, both meditative and alienating, she reinvents a condensed and tense nature. The energy of the leaves, if they were bows, would throw arrows in all directions. She animates the inanimate, gives the power of life to the inert pigment and to abstract shapes. In the same way, representation for her is an excuse to engage in abstract games. The plant forms are thus drawn to their formal possibilities when the abstract synthetic forms—her background 'matrixes'—receive, in turn, attributes that characterize them humanly: arms of an incapacitating length, hands with gigantic and violent fingers.



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