[APRIL 5 – 22]

Raymond Carter’s body of work proposes unconventional methods of nurturing the spiritual in contemporary society through abstraction. Setting constraints and limiting his resources to industrial cloth tape, Carter explores simple geometries to create work that is both harmonious and contemplative.

“Quatrain” presents a direct response to his recently completed Masters of Fine Arts research project, which included a large-scale inverted triangle constructed from multiple triangular pieces. The triangle plays an integral part in Carter’s work. It is a dynamic form, which when multiplied, has the potential to generate compound structures of arbitrary playfulness and complex symmetry.

Carter emphasises formal concepts over subjective judgments concerning design, beauty and balance; the works allow the idea to “become a machine that makes art” [1] As such, the tape paintings of ‘Quatrain’ examine notions of bilateral and rotational symmetry, while integrating elements of play and improvisation through his use of colour and the arrangement of his multi-part works.

[1] LeWitt. Sol, “Paragraphs on Conceptual Art,” Artforum 5, no. 10 – June (1967).