Nanette Carter's Statement
Metaphorically scapes have allowed me to weave various political themes and concepts into the work. These themes ignite my imagination and guide me in the studio. "Scapeologist" is the term I have coined for myself. Sometimes joining more than one kind of scape on a picture plane to reference outer space, the sea, underwater, sky and landscapes. Inventing new worlds to delve into questions around the necessity of war and the horrors of injustice, while paying homage to the mysteries of nature and human nature.
In the series "Bouquet for Loving", 2009 -2012, I have created a mysterious form of plant life, while honoring my mentor, the artist Alvin Loving. Al was a unique person, brilliant artist and a generous man. The title, "Bouquet for Loving" is referring to a benevolent offering that is timely during this era when civility is on the wane.
In 2012 the series of invented scapes titled, "In the Garden: The Animist", vegetation extends past the garden walls. Animism is the belief that all natural phenomena possess an individual spirit and sole. This spirit and sole is what I want to convey with these animated works.
After the solo exhibition in Miami in October 2012, that included the Bouquet and In the Garden works, a new series developed titled "Cantilevered" harking back to one of my earlier loves, architecture. To be anchored at one end and balancing a structure that extends out horizontally is a metaphor for life in the 21st Century. A balancing act. In the studio I'm literally building (or collaging) the shapes to make the works. The final illusion is that an anchor is acting as a formidable support while its' arms hold up a massive structure that defies gravity.
My catalysts for over four decades have been the drama of nature along with the drama of human nature. Having traveled across North Africa, North America, Central America, South America, Europe, Asia and the Middle East I have encountered a kaleidoscope of exquisite scapes and incredible people.
Since 1997 I've worked exclusively on frosted Mylar, which is a sheath of plastic, developed by Dupont in the 1950's. Then by applying oil paints, oil sticks, markers and pencils on the frosted Mylar surface my hope is to achieve the maximum luminosity, density and transparency.