ARTist Carter'S Art work and paintings at The Saatchi Gallery

Carter’s Polaroids pose as casual snapshots, a series of ‘accidental’ photographs missing their target subject to capture only a pair of disembodied hands, a hint of human presence amidst various arrangements of inanimate objects. The appendages in the images are in fact fakes, plastic substitutions that render the notion of body as generic and interchangeable. In his exploration of the post-human, Carter searches for an idealised self: physiognomy, irrespective of difference, is explored as the equalising factor of human experience.

In Polaroid (2006 #1 and #2) and Polaroid (2006 #3 & #4) Carter pairs his photographs in diptych format. Each frame portrays the mannequin/artist in his studio, with subtle alterations in position and background: the potted plant moved a few inches, the drapery over the shrouded bust rearranged, a picture of a head included, then removed. Each of these elements becomes synonymous with the body itself, the differences in the photographs serve only to reinforce their sameness.

In Polariod (2006 #5) and Polaroid (2006 #6) Carter’s artificial hands are accompanied by the accoutrements of the living: comb, glass of water, houseplant, each lending a plausible authenticity to the dummy limbs. Arranged on top of a sheet of paper bearing the vague marks of an initialised sketch, Carter’s photographed assemblages further confuse the relationship between sculpture, drawing, and illusion. Using documentary medium of photography, Carter readily supplants the assumption of reality with an artificial construction, highlighting the discrepancy between outward appearance and inner content.Often evolving his drawings from three dimensional models, Carter’s sculpture 1949, Self Portrait of a Homosexual 1965, 1970 poses as a synthetic ‘original’ in his ongoing practice of artistic ‘cloning’. Overt in its sexual subject matter, the title of this work points to key eras in art history where gay politics began to be included (retrospectively) as part of critical discourse. Constructed primarily of plaster and clay, Carter’s busts retain the rough hewn texture of their malleable material. Though titled Self Portrait, Carter conceives his sculpture as amorphous and anonymous, illustrating a process of becoming that transcends gender and social convention.

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View Carter paintings, biography, solo exhibitions, group exhibitions and resource of Carter artist. View art online at The Saatchi Gallery - London contemporary art gallery. Carter

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