Karen Grosman is based in Toronto, Ontario. Her practice concentrates on painting, ceramic sculptures and large scale ceramic art installations.
Recent paintings deal with concepts of death, rebirth, and impermanence. Ceramics explore ideas of superficiality, hidden meanings, the façade and the abject. Her paintings have been exhibited in New York and Toronto. Ceramic sculptures are represented by Coastal Eddy Gallery in Laguna Beach, California. Her art installations have been exhibited throughout Toronto, including a solo show "300 Cones" at Roadside Attractions in 2017. She was selected for The Bombay Sapphire Artisan Series Regional Semi-Finals in 2018.
Conferences she has participated in include the Feminist Conference at the University of Toronto with a solo show UTSC Feminism at Gallery 1265 and the Ryerson University Midwifery Conference with a group show Birth and its Meaning at Milk Glass Gallery. 

She holds a BFA from OCAD University. Majoring in Drawing and Painting with a minor in Art History.  Collections include the Art Gallery of Ontario Rare Books & Artists' Books Library, the corporate law office of Tenenbaum and Solomon, Robert Kananaj Gallery and private collections in New York, Maspeth, Vancouver, Toronto, Nova Scotia, Laguna Beach, Mexico, and Denmark.

ARTIST’S STATEMENT

This collection of memento mori and vanitas use the symbolism of butterflies, meat, shells, skulls and flowers to signify death, decay, the body, fertility and the afterlife. Flowers represent life, the skeleton and skulls signify death, the gold leaf is a signifier of wealth and what will be left behind. The butterfly signifies hope and the fragility of life, shells represent fertility, insects are decay and meat is the body and wealth. I am interested in death as a subject matter because it is a reminder of the fragility of life.