Karen Joubert Cordier is a French-American artist born in Neuilly sur Seine on 1954. Upon completion of her studies at the Academy Charpentier was counseled by a famous art dealer Daniel Cordier. Following her first Paris show, her paintings were exhibited in the George Pompidou Museum. Famous art critic Bernrd Lamarche Vadel has written an article on her first series, the "La detainment de Vegetal". Her unbridled imagination explodes on the canvas with an accumulation of details in fluorescent colours expressed in a freedom of composition. This recent evolution of works "La narrative figurative" re vivid images of iconic collage mixed with Pop Art. Involving more pop elements of comics, they are reminiscent of her childhood journeys with her parents. Starting from cartoon-like sketches, her paint brushes interpret all the knowledge she had assimilated, transporting the eye into different worlds.
Karen's works are collected by the Centre Georges Pompidou in Paris, which houses the largest museum for Modern Art in Europe. Her works are also collected by the former French Prime Minister Jean-Francois Girard, famous entertainer Elton John and the Rockefeller Foundation.
Bernard Lamarche Vadel for Beaubourg Gallery, Paris, France 1987 on Karen's work: At first sight, Karen's paintings have only one recurring subject: the unbridled vegetation of nature falling prey to unlimited repetition, dissemination, proliferation. This means that each composition originates from a serial process transversing the painting and which the painting is only a detail of. And the famous disturbing Freudian strangeness emanating from each work has no other motive but this situation where we are facing the framework of a process unfolding outside all dimension. If, therefore, the ordinate accumulation of details in a painting which itself is but a detail serves first as a purely visual provocation, viewed again, Karen's paintings accomplish an original, exotic, and unexpected synthesis of modern tradition especially. Pointillism, surrealism, all-over expressionism, all the principles of the great movements of the century are convoked, collected, in order to draw out the image of a digital labyrinth. Because, here, vision seems to me to be but an inductive threshold, "aperitif" if I may say so, of a sensorial space very rarely utilized in the history of painting, that of the Touch. This so rare sensation is discernable in the complementarity of the formal characteristic of the works and of the Story of these same works. This great proliferating vegetation screened framed in a series of sites, and details therefore of an infinite process, is first of all the product of a proliferation of marks, touches, streaks. And the eye convoked in Karen's paintings as the synthetic sum of marks, in identifying the sumptuous microcellular carpet, identifies at the same time the procedural passage of the repetition of touches, rather than of the painted, the brushed. From which follows, considering these paintings and their disturbing strangeness: that is is not so much the visual aspect of this flora which inspires strangeness; the coherent and masterly application of touches; the quality of the tones, the organic unit of the ensemble, on the contrary, confers upon these works a great visual savour. But beyond the global visual threshold, I well believe that it is the spectator's hand which is, through these paintings, grabbed, the unconscious hand seized by the delicate touch of these great digital surfaces. It is not the eye here that is in danger, but through the recourse to vision, it is the body that is aimed at, the hand first, on this score of teeth, these stringy mosses, these carnivorous flowers, this vegetal cancer. This painting sees itself on the scale of the forbidden it forces on touch, and by enxtension, on the body. Bernard Lamarache is a highly-lauded art critic whose opinion is valued by collectors around the world.