Caroline Larsen’s (b. 1985) vivid impasto painting style resonates with both the aesthetics associated with kitsch and psychedelia. Creating images from her memory of the landscapes she experienced as a child living in Sarasota, Florida, and in Panama as an adult, Larsen’s autobiographical paintings toy between abstraction and representation. Painstakingly constructed through a variety of unconventional and traditional tools, strokes of paint weave through each other creating optical rhythms that take on the characteristics of woven tapestry.
Recent solo exhibitions include Romance on the Islands, Dio Horia, Greece (2018); Mountain Painting, General Hardware Contemporary, Canada (2018); Flower Frenzy, Andrew Rafacz, Chicago (2018); Poolside, Craig Krull Gallery, California (2017); Wildflowers, Gordon Gallery, Tel Aviv (2017); Mirror/Mirror, Spring Break Art Show, New York, curated by Adam Mignanelli (2017); Kabloom!, The Hole, NYC (2016); and Palm Flora, Mulherin Gallery, NYC (2014). The artist has also participated in numerous group shows including The Beyond, Georgia O’Keeffe and Contemporary Artists, Crystal Bridges Museum of American Art, Arkansas (2018); Shapeshifter, Guerrero Gallery, San Francisco (2018); No Commission, Dean Collection, Miami (2017); Still Life, Allouche Gallery, NYC (2017); Three Painters, Andrew Rafacz, Chicago (2017); Frank Lloyd Wright: Petra Island, Silvermine Arts Centre, NY (2017); Parting and Together, Greenpoint Hill, NY, curated by Trudy Benson (2017); and Post Analog Painting II, The Hole, NYC (2017).