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I must be making my own universe/out of discards.
from Alice Notley’s poem, Waveland (Back in Chicago)
My process of making is one of construction and reiteration: I render abstractions of real and imagined space, while imposing diagrammic marks through those planes. My work seeks to fuse mappings of external spaces with interior imaginings and associations. I utilize materials that are meaningful to me, often employing fabrics, collage, or found objects to hone in on a particular locale or experience. The landscape interests me as a point of entry to explore isolated forms, light, and implications of human interference.
I am interested in organic form, the literary, process-driven failure, visual poetics, form in general, insouciance, dereliction, unsettling roadside stories, visual information, light filtering through trees, reiteration, elegance, memory, the realm of semblance, maps, light in general, contradiction, and deep rich black.
Kathline Carr, writer and visual artist, is the author/artist of Miraculum Monstrum (Red Hen Press 2017), winner of the 2015 Clarissa Dalloway Book Prize (AROHO Foundation). Her visual work, primarily painting and printmaking, has been supported by grants from the Berkshire Taconic Community Foundation, and Massachusetts-based Assets for Artists. Carr’s writing and art have appeared in Alexandria Quarterly, Entropy, Yew, Calyx, Connecticut Review, Hawaii Review, Earth's Daughters, SISYPHUSINA ([PANK] Books, 2020, author Shira Dentz) and elsewhere; she has exhibited in New York City, Boston, New England and Canada. Carr received her BFA in Creative Writing with concentrations in Visual Art and Feminist Philosophy from Goddard College, VT and holds an MFA in Visual Arts from The Art Institute of Boston at Lesley University. She has taught art, theatre, writing, and printmaking to people of all ages in the Berkshires, and around New England.
Carr is a core member of Fountain Street Gallery in Boston, MA.