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    Portrait de l'artiste Laura Garcia Karras pour la galerie PARIS-B

    Laura Garcia Karras defines her paintings as silent spaces. In the depths of silence, a pictorial, philosophical and poetic reflection is established, mainly based on time. The representation of the living (trees, branches, flowers, foliage) translates our destabilized relationship to images. She holds a natural construction, the mineral molding of a living form, plant or animal, whose print crossed time to be found in her hand. A sensation, close to the sublime, which is the basis of a physical, conceptual and plastic research. (Text: Julie Crenn)

    Laura Garcia Karras (b.1988, Les Lilas, France) graduated from La Cambre, Brussels and then the Beaux-Arts de Paris. In 2018, she was the winner of the Concours Fondation Crédit Agricole in France and she won the third place of the Prix Antoine Marin, presented by Bernard Frize. She is now artist resident in the Poush Manifesto in Aubervilliers, France.

    Born in Les Lilas, France in 1988
    Works and lives in Paris, France


    DNSAP (National Superior Diploma of Plastic Arts of France) Ecole Nationale Supérieure des Beaux-Arts de Paris

    Studio of Dominique Gauthier, Ecole Nationale Supérieure des Beaux-Arts de Paris

    ENSAV (National Superior Audiovisual School), La Cambre, Brussels, Belgium


    Rosebud, curated by Anne-Laure Peressin, PARIS-B, Paris, France

    Le Jardin de Derek, Galerie Comparative, Paris

    Le cabinet d’histoire naturelle, le musée et le casino, Beirut art Fair, Beirut
    Mephistowaltz, Galerie Comparative, Paris

    Le désir du requin-marteau, Galerie Comparative, Paris
    Graduation exhibition, Ecole Nationale des Beaux-Arts de Paris


    Immortelle, MO.CO. (Montpellier Contemporain) Panacée, Montpellier, France
    Galerie Taymour Grahne Projects, London, UK

    Une autre Odeur, Poush, Clichy, France
    Vernissage à L’italienne, Galerie L’Avant Galerie Vossen, Paris
    Forest Fantasy, Fondation, Greenline, Parc d’Ognon, France
    Double Nature, siège d’Havas, Puteaux, France
    Pardes, Atopos, Paris, France

    Lisière, Poush, Clichy, France
    Galerie Sabine Bayasli, Paris

    She Ate the Crumbs : The Other Nature of Women, Galerie HB, Tokyo, Japan

    Réception, Hors Cadre en collaboration avec la Galerie Valeria Cetraro, Paris, France

    Novembre à Vitry, Vitry, France


    3rd place of the Antoine Marin Prize, presented by Bernard Frize
    Winner of the Concours Crédit Agricole

    • vignette-laura-garcia-karras-rosebud-paris-b Laura Garcia Karras
      01/27/2024 - 03/09/2024

    Anne-Laure Peressin

    Born in 1991, Anne-Laure Peressin is an art critic and curator. She lives in Paris and resides at POUSH (Aubervilliers) at the Bureau des Penseur.euses. A graduate in law and art history, she was an active member of the Jeunes Critiques d’art (YACI ) collective from its inception to 2020, editor-in-chief of the art press for 4 years and children’s author in art history at Fleurus Editions. Since 2018, she has been a regular contributor to catalogs and interviews for the Ecole des Beaux-arts de Paris, as well as for private and international institutions (KIT museum in Düsseldorf, arTsenal de Dreux, FOCO gallery in Lisbon, Château du Marquis de Sade…).

    As a curator, she develops exhibitions dedicated to the emerging contemporary scene, paying particular attention to the inclusion of younger audiences. She also sits on juries to award grants, production subsidies, residencies and exhibitions (expert at Carré sur Seine…).

    Her research focuses on three main areas: the mediation of contemporary art with children; a reflection on the materiality of the object that makes the work, to probe its components and sensitive effects; and a reflexive approach to the exhibition process, in which space, works and devices are conditional elements of a total apprehension.

    Text by Anne-Laure Peressin for Laura Garcia Karras’ Rosebud exhibition

    Flower, atom, and threat; Color, aroma, and shiver.

    Everything is there, through their presence, through their strength


    In a final sigh, the mysterious word resonates: rosebud

    Borrowing from the end of Citizen Kane (1941) the title of her exhibition, Laura Garcia Karras begins a new series of paintings. Rosebud reveals twelve oil paintings like a bouquet of flower like entities.

    Emblems of the poet, of love, purity or femininity… Roses seem to be trapped in labels which fade any emancipation attempt. If Laura Garcia Karras paints this flower, it’s not for its symbolic charm: her roses assert themselves in a magnetic duality.

    On their dark background, the artist’s roses sound like bewitching threats and resonate as they bloom in the ether of the canvas. Each bud bursts “in power” and “in action” (according to Aristotle’s concept) to challenge the gaze, assert itself in front of us, and subvert the power games.

    In the laboratory of her studio, Laura Garcia Karras sculpts the material with a scalpel and stretches paint with surgical precision. On canvases previously sketched out and then coated with wash, the chromatic palette ranges from light to dark, with gradations from sulfur to orange, passing through caramelized and spicy notes. No brushstrokes are visible, only the cut-outs of the shapes before coloring give a glimpse of the artist’s gestures.

    In a moment of deep concentration, Laura Garcia Karras isolates each area to work on it as closely as possible. With the tip of her tool, she slowly caresses the oily material which tolerates no hesitation, no repentance. The shreds of paint then reveal their fibers, their raw flesh in a perfectly smooth, scratched composition. The paint areas never mix; each fragment divides into distinct fractals. Yet, , their union forges a sudden symphony, an almost fateful crescendo, like an atomic explosion.

    If the works of Laura Garcia Karras raise questions about both the act of painting and the symbolism of figuration today, they also question our way of understanding a painting that disrupts the dynamics of seduction by tending towards their abolition.


    Anne-Laure Peressin_portrait_2023Anne-Laure Peressin_portrait_2023