Waiting for Daylight

Blind Tracery, plaster, dust, gouache and sunlight, (appx. 8' x 3' not including sunbeams)

Hagioscope, industrial felt, india ink, sunlight. (appx. 3' x 10' not including sunbeam)

Cotton, Steel, Sunbeam, Felt, Chalk, Plexiglass, 2011

Escape, as in a shaft of light! Steel, cotton, skylight, sky, plexi, chalk, felt. (ladder is 13' floor piece is 7' x 4')

Escape, as in a shaft of light! Steel, cotton, skylight, sky, plexi, chalk, felt. (ladder is 13' floor piece is 7' x 4')

Escape, as in a shaft of light! Steel, cotton, skylight, sky, plexi, chalk, felt. (ladder is 13' floor piece is 7' x 4')

Partial Installation View

Iceburg

Blind Tracery, plaster, dust, gouache and sunlight, (appx. 8' x 3' not including sunbeams)

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In a series of comparative gestures in the studio Carter considers the line between the ritual of observation and devotion to process in Waiting for Daylight, a site specific installation at Iceberg Projects. Drawing, sculpture and video (with sound) occupy discrete pockets of the building.

The installation hinges on a central sculpture which links the existing skylight in the room to a floor plan of the artist’s studio. The main space of the gallery is transformed into a time piece as the angle of the sun shifts across the skylight the sculpture is illuminated and acts as the hand of a clock, casting shadow and reflections around the room.  Constant traits in the artist’s work: refraction, absorption, accumulation, and darkness, come together to raise the question “who draws the line?”

In the accompanying video, fabric scrims interface with the paltry distant horizon of a western-headed rail line, as Carter addresses transference from the role of viewer/observer to the role of maker and back again; a parallel to the role of belief and isolation in an artist’s practice. Treating windows as thresholds of entry and exit, the works in the space conflate portals from her present studio with memory of spaces once lived in.