BIO
Karen Perry is a Mexican artist whose work explores techniques and materials associated with the playful or the manual, which have led her to trace their origin or history and to determine both protagonistic and antagonistic relationships between them.
Perry’s work has been showcased internationally in countries such as Mexico, Chile, the United States, Italy, Belgium, Spain, Germany, the Netherlands, Denmark, Lithuania, Bulgaria, Qatar, Japan, Republic of South Korea and China. She has participated in prestigious artist residencies, including Banff Creative Centre and KIRA in Canada, Vermont Studio Center and BBAX Gallery in the United States, ARTELES Creative Center and Serlachius Museum in Finland and Viarco in Portugal.
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Perry has won a number of international awards, including the Vermont Studio Fellowship in the USA, the Grant National system of Art Creators 2024 – 2026 and 2018 – 2021 in sculpture in Mexico, the Special Prize at the Cheongju International Craft Biennale in South Korea, among others.
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In Mexico, Perry completed Bachelor’s degree at the National School of Painting, Sculpture and Engraving “La Esmeralda” National Arts Center. She is a member of the National System of Creators since 2018 and was a beneficiary of the Young Creators FONCA program in 2015-2016 and 2012-2013.
STATEMENT
When I review my work in relation to my thematic interests and the conceptual development I have been pursuing over the last 15 years of my career, I realize my emphasis on the symbolic and formal correlations between elements that produce structures that can be interpreted by those familiar with the language in which they are expressed.
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I work with a process of association between form, matter, and concept that moves between seemingly different materials, while maintaining my interest in their ability to be reorganized into new forms that become interpretations centered on a specific theme.
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Puzzles and weaving are activities with an associative component that produces meaning. The correlation between their parts and their meanings compose forms and structures that, when contrasted or reorganized, constitute the aesthetic rhetoric of my work.
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My interest in activities and techniques that are on the fringes of the innovative artistic spectrum—because they are elements associated with play or craftsmanship—has led me to trace their origins and history and to determine both protagonist and antagonistic relationships between them.