Karen Kraven
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Welt, 2020 ; Pause and Lull, 2019 et Chlorine, 2020.
Presented at the Musée d’art contemporain de Montréal (Canada), 2021
Photo: Guy L’Heureux
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Welt, 2020 ; Pause and Lull, 2019 ; Chlorine, 2020 ; Pumice, 2020 et Gossypium, 2018
Presented at the Musée d’art contemporain de Montréal (Canada), 2021
Photo: Guy L’Heureux
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Chlorine
2020
Denim, fil, boucles et barre en acier avec revêtement par poudre
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Lyon
2019
Silk taffeta, silk thread, powder coated metal rod
147 x 96.5 cm (58 x 38") -
Como
2019
Taffeta, silk thread, shauntung silk, powder coated metal road
112 x 117 cm (44 x 46") -
Woman Sitting at the Machine, Thinking
2019
Steel and cord
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Work
2019
Bronze, jeweller's epoxy, steel
22.9 x 15.2 cm (9 x 6") -
Warp & Weft
2019
Archival, digital, print
127 x 84 cm (50 x 33") -
Fannia
2019
Vinyl and steel
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Red Winged Double Back
2019
Spandex fabric and powder coated steel
183 x 127 (72 x 50") -
Silver Jacket Arabian & You can't catch me
2019
Spandex fabric and powder coated steel; mixed media and mesh fabric
183 x 127 (72 x 50"); 61 x 35.5 cm (24 x 24 x 14") -
Leme
2016
inkjet print
117 x 86 cm (46 x 34") -
Salacia
2016
inkjet print
121.9 x 86.4 cm (48 x 34") -
Vanuatu and Ullawatu
2016
inkjet print
2 x : 124.5 x 79 cm (49 x 31") -
Clickity Schnarsnar
2016
Perforated vinyl, zipper with plastic water bottle and water with vitamin-C
38 x 89 x 127 cm (15 x 35 x 50") -
Skills and Drills
2015
archival inkjet prints
91.4 x 61 cm (36.25 x 24.25") each
Biography
Karen Kraven’s work sets up unexpected encounters between sculpture and images, uncanny resemblances and misleading juxtapositions. Informed by textiles, labour, sports and optical illusion, her work investigates the registers of the body; how it is fragmented, unstable and under interrogation. Kraven exploits the illusion and seduction found in such pursuits to disguise and distort the body’s appearance (or disappearance) whether obscured, sexualized or beguiled. Shifting and mutating, the works collapse upon one another, mesmerizing us as they reappear enlarged, divided and flattened. Her work with textiles is influenced by her father’s (and his father’s) knitting factory that stopped manufacturing the year she was born.
Born in London, ON
Lives and works in Montreal, QC
