At birth, cardiologists proclaim that I will die.
My parents take me home.
At 3, I stand ghostly white on the fireplace
hearth without air, my heart racing 270bpm.
I fall in love with horses that year after my
cardiologist takes me riding.
July 3, 2003, my heart is open to implant a
porcine valve after years of misdiagnosis.
11 days pass and my surgeon reveals his
surprise that I made it to the operating table.
“I don’t know what you believe, but this is
medically unexplainable...you have God,
I should have been dead long before. I live.
I live like a survivor. I grab life, never letting
go. Loving life as only a survivor can.
My congenital heart condition serves as a
physical metaphor for the heartache I’ve felt
for personal losses and for the scars upon
My view of this world is expressed in the
shapes, textures, and colors that I see and
the lessons we must learn to share this
Some pieces are pure emotion. Others are
observations and reflections. Through my
work, I explore my vision of the world from
the whimsical to the profound and from the
large to the small.
My work is dedicated to the love and support
I’ve felt from family and friends. Thank you.
photo by Leland Auslender
cover photo by Inga Ambrosia
artist Biography 7
artist Statement 9
public engagement 12
an interacting metaphor 13
process & 15
paintings, metal studs 16
paintings 2d-3d-4d, metal sheets 19
paintings 2d-3d-4d, glass 21
paintings, glass and sea plants 27
paintings, canvas 29
paintings, X-ray poetry 31
sculptures, Ecumenical Ecstasy 33
mobiles, The Praying Mantis 35
sustainable collage, circuit boards and sea plants 37
installation,”Which door holds your Truth?” 38
installation,“Caged Fairies” 41
installation, “Genetically Modified” 43
installation, “The Dream” 45
X-ray photography 47
illustrated photography,“Charming Face of Pollution” 49
video installation, “The Suckers” 51
exhibitions (selected past) 53
Timeline and development of work 54
self portrait by Carson Case
World Artist Catalogue
Art Review profile
Slideshare Art Book
“My vision is to promote a new
path for humanity, and my
instrument is art.
My sculptures and paintings are
designed for both suspension and
grounded installation, indoors and
outdoors, interacting with the
viewer and connected to nature’s
The vision is of transformation, transcending
beyond our personal experience of the world, to
inspire and reveal so to improve the world realisti-
cally by driving change through an awareness of
the possible inside ourselves and in how we interact
with each other and the rest of nature.
This vision is for both a return home to a lost
awareness and reverence for all that is natural and
for the creation of a new state, a state of ecstasy
that is possible now.
I call this vision the Ecstatic Period.“ ~Carson
Carson’s self expression and world view was first shaped by classical dance. She started training in ballet at
age four and later committed to the training and life of a dancer until a near-fatal heart condition and
open-heart surgery forced her to abandon the rigor of dance at the age of 30. While dancing, Carson sought
other ways to communicate the essence of being a dancer. She started with drawing in charcoal at an early
age and later experimented in a wide variety of mediums, ranging from glass, metal, circuit boards, x-rays and
timed-exposure photography. Her photographs of both still and movement inspired her sculptures to capture
figure, movement and emotion through form and abstraction.
Carson uses sculpture to capture the organic movement and experience of dance using a three-dimensional
space that interacts visually with the viewer and the surrounding space. Similarly, Carson uses paint on glass to
capture three-dimensional space and bring the surrounding space into her work.
Carson’s interest in mathematics also influences her work, providing an analytic discipline to her form and
perspective, even to pieces that seek to capture pure emotion.
Carson attended Miami of Ohio in Oxford, OH where she initially studied mathematics and chemistry until
transferring to architecture. Carson’s primary influences were Antonio Gaudi, whose work embodied nature,
and Frank Lloyd Wright, whose work interacted with nature. Finding architecture confining, Carson found
greater expression in fine art leading her to transfer to the Herron School of Fine Art and study with Jean-Paul
“JP” Darriau, whose work is in Guggenheim, Hirshhorn and Smithsonian collections among others. Carson found
her greatest expression in the three dimensional space of sculpture and the capabilities of capturing imagery in
photography, where she initially experimented with motion and timed-exposure during dance classes.
After graduating, Carson moved to Vienna where she earned an international MBA in Creativity Management
through the University of South Carolina’s Moore School of Business and the Wirtschafuniversität Wien. An
important influence on Carson’s development as an artist was viewing Hundertwasser’s Kunsthaus and
learning his philosophy, which resonated with her. Carson’s imagery was also influenced by her attending the
Royal Viennese Ball, experiencing the rotating motions, which she later tried to capture in her pieces. She
spent semesters in Copenhagen and Nantes, gleaning artistic expressions and insights from local artists. After
graduating, Carson moved to Paris for 2 ½ years where she immersed herself in the artistic community.
Lacking the physical space in Paris for sculptural or painting, Carson directed her fascination with
three-dimensional form to developing of a couture line of dresses under the tutelage of a master seamstress.
Carson often had to adapt her work to her space.
Carson also spent considerable time in Rome and Greece, and extensively explored France and Italy, Catalonia,
Slovakia, Hungary, and the Czech Republic. She has been featured in a variety of galleries and private showings
featuring a selection of her medium to large-scale works including paintings on sheet metal, metal studs and
glass suspended from the ceiling with aircraft cable, and doors, all objects reused from demolition sites.
Jeju Art Museum, South Korea: vision monumental glass installation
room interior: vision monumental glass installation
Visions: Parisian fountain and NYC’s Rockefeller Center
Emirates Fine Art Society, Dubai: vision monumental
The metal sculptures and glass
paintings become increasingly
dynamic, as they interact with
nature and architecture, light
A glass painting in front of a
white wall is transformed when
suspended in front of a window
to interact with flowers and
trees, architecture and water,
just as a person harmoniously
engaged with another fosters a
more enriching experience of life.
Art is my language to express my world view. I see the world as an eco system of emotion, thought, nature,
and moment. I see my role in this world to be a steward of its physical beauty and to seek a balance in how to
live in it and how we live with each other.
Since childhood, I’ve had an intense devotion to inner beauty and passion of spirit that found expression
through physical mediums of dance, sculpture, and painting. My spiritual desires and connection with nature
are an inner necessity, and are central to my art and my work as an artist. I’ve always been captivated and
uniquely stimulated by nature and color.
Glass is a metaphor for transformation, as paintings interact with interiors and exteriors, architecture and
nature. Metal is a metaphor for reflection. Unlike a mirror, it’s an imperfect, muted reflection and with work
becomes clearer. Physical leitmotifs occur throughout my work with doors representing choices, perceptions,
journeys, and dimensions; circuitboards representing programming, brainwashing, societal constructs; X-rays
symbolizing underlying or hidden meanings or causes; and “tamed” nature, including deceased insects, affixed
permanently to surfaces with resin, and literally suffocated representing our intrusion on nature and animals.
I use accumulative, shifting layers of glass, metal, technology, nature and other objects from demolition sites
representing the permutations of our existence and promoting a look beyond our conditioned perceptions. I
seek objects that would otherwise be refuse, not just as an eco artist, but because these objects are not
refuse: discarded objects are in transition. For the next moment, they’ll be art, transformed. I reflect on an
object’s origin, reasons for its destruction, saving it, and the relationship this has for human experience.
Art is my dichotomy. It expresses my intimate passions as a feminine, sensual being. Art is my industry from
the sweat and toil it takes to form metal and industrial materials into enormous scale. The world is large.
Passions are larger and art should inspire in equal proportion through creativity and a daring to think big. Art is
also my celebration of thanks in having this moment to be, my lament for where we fall short, and my revelry.
Musée d’Art Moderne de Lille
Lever House, New York City
The following photos
depict my vision for my
works installed to scale at
My intent is to create dynamic,
engaging and energizing art that
is accessible, both visually and
emotionally, for a wide audience
by balancing recognizable form
with abstract form.
Musée du Louvre, Paris
Guggenheim Bilbao exterior
The sculpture is both story and allegory for the viewer to see me and to be caught up in a moment
for them self. The scale of the sculpture relates to and interacts with the surrounding architectural
and environmental elements both close up as well as from a distance but the piece should stand
apart just as the moment it captures stands apart.
The piece will become increasingly dynamic and powerful with size, while also more abstract. The
sculpture’s size and placement must balance the viewer’s ability to recognize the underlying form
while also seeing it as bigger-than-life, relative to the surrounding space. I intend to implement the
sculptures up to monumental scale, ranging from 9 to 81 feet. Daylight and integrated installation
lighting in the evening will also transform the sculpture projecting light and shadow.
Modern Art Museum, Dubai Hirshhorn Museum interior
University of Illinois, Chicago: Thornton Tomasetti
Guggenheim interior, NYC: vision large scale
Musée d’Orsay, Paris: vision large scale
Hirshhorn Museum exterior: vision monumental fountain
Guggenheim, Abu Dhabi
The sculptures and painting are still but depict motion. They are viewed but invite interaction and are
inanimate but inspire animation.
Interaction is invited through QR Scan codes at the sculpture and glass painting installations that link
viewers digitally to a website containing both information and a forum for comment and discussion
about the works.
Animation through participation is enabled by serving as a venue for events to take place around the
sculptures and glass paintings.
Local dance and theater groups, particularly those that engage the public in their performance, will be
invited to schedule performances through the web site. The goal of the dancing sculptures and glass
paintings is to prompt meaningful conversation, reflection and social awareness; to promote
introspection about relationships, experiences and one’s approach to life.
Dance is one of the universal forms of expression that reaches every generation from the young to
old across every culture. Dance, as expression, is open to all and closed to none. Through dance,
one learns to be realistic about abilities and set reachable goals, to know and accept strong and weak
points, to be prepared for the unexpected, to fall down and get back up, to focus, work hard and
commit in order to succeed, to find the best qualities in your partners and opponents, to appreciate
and praise the efforts and work of others and to enjoy the whole process.
near Richard Serra’s “Snake” at Guggenheim Bilbao int.
an interacting metaphor
I’m a petite woman and my process involves significant strength and manual labor. What I’m
able to save, what I’m able to accomplish in scale has been largely dependent on others for
their strength and for the use of vast open space.
The process itself is part of a larger metaphor of human experience.
My artistic process follows a long period of development and maturation.
The actual experience of making the “art” is visceral and spontaneous; ecstatic and intuitive: a
realization in and of the moment. I am very patient and thoughtful, while also intuitively flying
by the seat of my pants.
• I go to demolition sites and save objects like metal studs, window walls and glass. I use
resin, metal, new and outdated technology, LEDs, and other objects, learning to install from
experts in the field rather than through a formalized process. I found fine art education to
restrict intuition and spontenaiety, so chose not to get an MFA.
• When glass companies said it was impossible to implement, I designed and successfully
implemented a structure to suspend my glass paintings from 18 ft ceilings with aircraft
cable. I am very stubborn.
• When I couldn’t afford to rent a scaffold to suspend my large glass paintings, I built a 16ft
Trojan horse wooden staircase on wheels with friends. I am very resourceful.
• I slept in the warehouse, creating and installing works until 3 and 4am. At the top of this
staircase, I drilled holes in the ceiling and screwed in 104 hooks for 52 paintings. I am very
A part of me, of the “universe”, the Omniscient Mind, of God, transfers to the work, and for
days or weeks after, I’m in a state of recovery. The entire process is part of the creation.
I’m a dancer. My sculpture and painting style
extends from my movement - a dynamic, visceral
dance uniquely my own, reflective of 17 years as
a ballerina, jazz dancer and choreographer mixing
styles as diverse as African tribal to Argentinian
While viewers have indicated the way I execute
my work resembles Jackson Pollock, I do not see a
resemblance in the works themselves.
photo by Tanya Manfrediz
photos by Heather Talbert
photo by Patrick Wanis
photo by Heather Talbert photo by Whitney Kennett
They’re screaming, screaming
Help me out
The door is locked
I can’t get out
The sides have swollen
Inside, the lost soul that cannot hide
Change can happen
You will see
Just be yourself
Don’t follow me
Your road to happiness
Is drawing near
Be ready now to shift your gear
Stop screaming, screaming
Use your mind
Create a hole
No black, no white
For purple moles
Forget your color
Trump the tide
Don’t stay in
Come on outside
Don’t blame all else
Hold tight yourselves
Help each other create
And stop the hate
Your angels wait way deep inside
They’re patient for you
To find your high
oil, acrylic, metal scrap, silver dust and flecks on texturized
(sanded/scraped) metal studs 3’2” X 1’ 8” 2007
paintings, metal studs
“Universal Truth: Superficial Separations”
“Misinterpretation (Dio War)”
The concrete poem depicts fighting
in the name of “God” or “Allah” or for
whatever the belief system may be.
“Dissection in Energy Fields”
The drip painting portrays
through a revised myth of
Jason and the Argonauts.
The Woman is a mirror of the
Dragon now representing an
Eastern dragon, which
symbolizes internal power
(changed from the formerly
slain dragon of the original
In this story, Jason does not
slay the dragon, hence he also
does not slay the spirit of the
woman. In this story, there is
an ideal harmony among man,
woman, animals & nature.
oil, acrylic, tar, gel, copper/gold powder, sand, seaweed, shells, tulle, on (sanded and scraped) metal studs 108” X 21.5”
Painted with sea grass/sponges and rigging 2002-2009
“The Woman’s Quest”
“Footsteps toward “home”
oil, acrylic, pigment powder, poetry on metal sheets 8’ X 5’ Painted with sea grass 2001-2009
“The Truth About Adam and Eve”
The concrete visual poem confronts a story that established many fundamental archetypes,
which ultimately caused major reactions in modern psyches, including the feminist movement,
zero population growth, animal rights, environmental defense, as well as groups wanting to
reconcile science and faith.
Adam had dominion over Eve, and both had dominion over animals and food, thereby creating
indefensible, polluted hierarchies. An interpretation written by men to create and justify the
power structure they desired.
Adam is veiled as a black snake, while Eve shields herself in a circle of protection. The poem
invokes Eve to know Mother Nature and follow her instinct. They both walk through fire
together (the obstacles to employ each’s passion, society’s paradigms and peer pressures) and
realize their sacred energy-bond to understand the “Tree of Life” is where all life is One.
I believe that was Jesus’ message.
paintings 2d-3d-4d, metal sheets
“Blue Angel saves the Lost Soul (the Devil)”
Conflict and Resolution were painted together, and represent the process many women go through, often
subconsciously, in reaction to childhood conditioning. The Conflict painting is fraught with tension. Colors and
movement represent emotions and influences. Surrendering, she walks through a sea of fire, and emerges
as she returns “home” to don her true nature in Resolution. She learned to live by her instinct, love herself,
pursue her dreams, as well as be open to allow true love to enter into her life.
This is where romance, love, friendship and sex converge and last a lifetime.
“Enlightened Breath : I embody Truth”
oil, acrylic, gold dust, sand on recycled thick glass sheets 10’ X 2.8’ Painted with feet and sea grass, rigging to percussion 2001-2009
“Feminine Desire: Resolution” glass screen
“Feminine Desire: The Conflict”
oil, acrylic, sand, seaweed on recycled glass sheets, aircraft cable suspension system 7 pieces, each 4.75’ X 1.58’ Painted with sea grass, rigging, sea sponges
to African, Brazilian and Middle Eastern drumming 2001-2009
paintings 2d-3d-4d, glass
“An Adventure : The World”
“The Dance” “Divine Intervention : The Shaman Arose”
photos by Diego Cappella
Follow your Passion
Find your path
You are your guide
Passion you’ll find is waiting inside
You’ll know in your heart
When you’re ready to start
Passion rises, it needs to depart
You see many who suffer
Say small words to remind
“Passion’s inside…you just need to find”
You’ll hear many say “no
Not realistic to go”…but
Passion you’ll find will outlast any foe
Just prepare what you need
And you will succeed
Passions fulfilled bring happiness indeed
Find lost childhood innocence
Search hard and you’ll find
The well-known demon, the “no trespassing” sign
I found Periwinkle, Kane never Rosebud
You must search and find and leave that past behind
Move forward, Find positives, You’re never alone
Plunge in heart and mind
And you will find your home
“Passion’s inside…you just need to find”
Surround yourself with unblind
They will help you to find
“Passion’s inside…you just need to find” Follow your Passion
oil, acrylic, recycled glass sheets, aircraft cable suspension, aluminum channel. 4.75’ X 1.58’ Painted w/sea grass, rigging, sea sponges 2008
“Scent of my splattered, bleeding Heart”
“The Whale Saves”
“Come, come whoever you are,
Wanderer, idolator, worshipper of fire,
Ours is not a caravan of despair.
Come even if you have broken your vows
a thousand times.
Come, yet again, come, come.”
Jonah and the Whale, of Judaism and
Christianity; Dhul-Nun, of Islam
“Jonah fish” (in Turkish yunus baligi) is
the word for dolphin
oil, acrylic on recycled glass sheets. 4.75’ X 4.5’ Painted with feet, sea grass,
rigging, sea sponges 2008
“The Chinese Dragon”
A Chinese Dragon, or
power and excellence,
boldness, heroism and
and divinity. A dragon
until success is
oil, acrylic, pigment powder, copper powder on glass. 4’ X
4’ Painted w/ feet while dancing to Indian music, dripping
paint and blowing gold dust on rippled glass. 2007-2008
oil, acrylic, gold dust, recycled glass sheets, aircraft cable suspension, aluminum channel. 4’ X 4’ Painted w/ feet and sea grass 2008-9
photo by Diego Cappella
The painting represents facing and accepting yourself, as well as being authentic
to your inner self.
This Phoenix proclaims, “Do not follow me”, as puppets hang from her wing.
She asks, “Where are you going?”, “Will you know me?”, “Will you love me?”,
“Who are you?”, “Do you know?”
The Phoenix symbolizes resurrection, immortality, triumph over adversity, and
that which rises out of the ashes.
oil, acrylic, gel, pigment powder, sand, seaweed, shells, fabric, on canvas covered with thick resin, wood 6’ X 5’6”
Painted with hands and fabric to music compilation 1998-2008
My work with X-rays, MRIs, and
body scans expresses my belief
that suppressing creative passions
and emotions, remaining in loveless
or abusive relationships, general
self-sabotage, as well as other
transgressions hindering spiritual
growth, manifest into physical and
psychological disorders, and
adversely affect how we interact
with the outside world.
“Your Body is Your Church”“Fear Lies in Here” “Beliefs and Faith” “Free Your Mind”
from “My heart gave way to my Mind” series
“Gangs and the Cross”
The series depicts stories from the inner
city. One Xray is of a dead man, with a
bullet wound, wearing a cross. He wears
a cross and was shot either in the
crossfire of gang violence or was an
active participant in the violence. If he
was a participant, shows the hypocrisy
of wearing the cross and perhaps taking
another person’s life in his lifetime.
What is the significance of wearing a
cross and not living by the cross?
We pursue happiness and it leads
to resentment and unhappiness
We pursue freedom and end up
with a societal system of servitude
defined by complex rules
“Inner Music: The Core Beat” : Follow your core, your internal rhythm
paintings, X-ray poetry
“Ecumenical Ecstasy” sculpture series
portrays a consciousness of unity.
A single dancer expresses the union of
body, mind and spirit; of male and female
energies; where yin and yang create an
The dancing lovers represent the state of
ultimate union, soulmates, hieros gamos,
where the two parts of one soul unite,
accomplishing what they were at the
beginning of time; unity.
The energetic union is represented by the
wire that encircles. In some religious and
pagan texts, this is a sacred reunion in
which God is present.
wire, metal, fabric, plaster, paint various sizes up to monumental public art 1993-2012
“Mambo” sculptures, Ecumenical Ecstasy
“The Praying Mantis”, which in Greek
means “prophet”, symbolizes the power
of stillness and intuition.
As we learn to still the mind and go
within, we draw greater “knowing” so
that when it’s time to act, it’s done
with greater certitude, precision and
power. In stillness, we open our minds
Do others know plans before they’re
laid? Are opportunities missed from
acting or speaking too hastily?
oil, acrylic, Plexiglas, monofilament, wire 16’ X 9’ 2009
mobiles, The Praying Mantis
Innovation will alleviate our impact
on nature if we are ethical and
responsible. We have tremendous
“Genetic Mutation 3”
custom designed circuit boards, used industrial sand paper, sea plants, palm seeds and
rope on glass 5’X1.8’ 2000-2011
“Synergy of Dancing Boards”
sustainable collage, circuit boards and sea plantsStop Blaming
Can’t blame only those making
They’re supplying what your buying
Blame yourself for buying
You’re the market they’re supplying
Even though they’re lying
What you need is what they’re tying
Manipulation is the rule
This is what they learned in school
Not too different from guru, ayatollah or priest
Understand how to coax you to join their feast
They know brainwashing’s the answer
But it’s you who follow all their banter
They exploit you, as they will
But you allow them, they’re your pill
You follow all the lies
Buying into their disguise
Consider what you’re doing
See the hypothesis you are proving
You know what you really need
Stop fulfilling all their greed
You have the power in your heart
Now it’s time you start
First we stop complaining
Then we stop blaming
It’s our responsibility to solve
It’s time we all evolve
Don’t play the game
It’s all the same
Now use your brain
And stop the blame
Stripping the Doors of Perception
To begin your journey herein, you must erase all previous programming. You may not believe that you’re
brainwashed, but you are. You have been conditioned and programmed with scientifically implanted “wisdom”
proliferated into public consciousness. It is contrived - somebody paid for it.
Your thoughts and attitudes are continually shaped by media, by propaganda, by PR firms.
“The engineering of consent is the very essence of the democratic process, the freedom to persuade and
suggest.” -- Edward Bernays, The Engineering of Consent
Called the Father of Spin (and the PR industry), Bernays, Sigmund Freud’s nephew, used psychoanalytic
theory to manufacture consent through propaganda. Goebbels (Hitler’s Minister of Propaganda) along with
Riefenstahl (Hitler’s main filmmaker) used Bernays’ book for campaigns against Jews in Germany.
“The conscious and intelligent manipulation of the organized habits and opinions of the masses is an
important element in democratic society. Those who manipulate this unseen mechanism of society constitute
an invisible government which is the true ruling power of our country.” -- Bernays, Propaganda
The PR industry thrives on mob psychology, intentionally chosing words for their emotional impact, knowing
full well the mob is incapable of rational thought. PR is most effective when people are unaware they’re
being manipulated. You are manipulated every time you turn on the radio or TV, read the newspaper, a
magazine, hear a politician, celebrity-endorsement, or an “expert”/ pundit ...
We’ve been led astray, lied to about what is healthy for our bodies, minds, and souls.
We need to think anew, question our beliefs, their mechanics and origins.
open our mind.
open our eyes.
open our hearts.
poetry, oil, acrylic, gold/silver dust mahogany woods from demolition
8’ X 4 1/2’ and 10’ X 4 1/2’ 2008-9
installation,”Which door holds your Truth?”
The installation is an experiential human
birdcage. At one end is an enclosed jail
cell where spectators slip on traditional
black and white striped uniforms before
they enter to read poems scratched on the
The purpose is to draw attention to the
convergence point between the cages we
create by or through our own fears,
shortcomings and negative self-images
that are reinforced by the prevailing social
and educational systems.
“Genetically Modified S4”
The series invites dialogue on overdevelopment and nature’s adaptability, as well as our own.
The installations adapt to spaces, and vary from a sparse configuration to one completely
filling all wall space and surrounding the viewers to question why technology is becoming a
central focus in our lives rather than freeing our time to spend with friends and loved ones.
“No Room for Humans”
oil, acrylic, sand, sea plants, dried land plants, crushed shells, circuit boards from
ultrasound machine 9 boards per work, each 6.5”X4” 2000-2010
“Ultrasound Circuit Board”
The series points to potential threats to
nature, humans (becoming slaves to
machines or rendered obsolete), and
genetic modification of organisms, which
may have dangerous consequences.
installation, “Genetically Modified”
The ultrasound machine is a diagnostic
imaging technique used for visualizing
subcutaneous body structures.
The sonar detector uses sound waves with
a frequency above the audible range of
human hearing, about 20 kHz to perform
both diagnosis and therapeutic
Somewhere in the deep depth
I lost someone I should have kept
I wondered where she’d been
Hadn’t seen her since age 10
Innocence came to a head
and searching replaced what I’d fed
what I thought was true was recalled
a shift occurred and appalled
And finally I remembered her joys
Only I could go inside with the toys
And now I know I’ve found
She’s there inside unbound
And ready to dance and play
And loves no matter what may
Now together we will soar
So I’m ready to throw open the door
installation, “The Dream”
oil, acrylic, sand, seaweed, broken glass, deceased dragon fly, rope
on recycled glass sheets, resin, aircraft cable suspension, aluminum
channel 1.58’ X 1.58’ 2001-2009
oil, acrylic, sand, seaweed, recycled glass sheets, aircraft cable suspension, aluminum channel, mahogany door,
sheet metal. Painted with sea grass, rigging, and sea sponges 2001-2009
My X-Ray photos are a continuing series about our perceptions of the outside world using the image
of our internal organs as the filter for the image of the world in front of the camera.
The aim is to promote reflection, to realize the source of our decisions, actions and reactions to life.
Through this exploration, we can learn to fully appreciate our personal experience and begin to heal.
It continues the conversation and reflection on the Caged Fairy and X-Ray series.
illustrated photography,“Charming Face of Pollution”
~ praying on your emotions and feeding life-sucking energies
• Row 1 marketplaces (HSN, QVC,...)
• Row 2 game shows
• Row 3 political talk shows
• Row 4 talk shows
• Row 5 commercials
• Row 6 caged animals
• Row 7 politicians holding babies
• Row 8 violence (bombing cities)
• Row 9 reality shows (by genre)
• Row 10 lotteries (across the world)
• Row 11 sitcoms (by genre)
• Row 12 news (international cities)
“The Suckers part 2”
~ feeding fear
Spread across all screens for expansive impact and contains
loops of violent videos, video games, and visual graphics of
“cities” burning, bombed, destroyed by man-made and natural
Actors walk around wearing gas masks, disease protective
LCD wall installation (array of 5X12 - 24” flatscreen monitors running at 1920X1200 that closely fill a wall space)
video installation, “The Suckers”
exhibitions (selected past)SELECTED SOLO EXHIBITIONS
Art Basel | Design Miami, Driade Gallery, Miami Design District, Miami, FL, 2009
Marcy Building Gallery Miami Design District, Miami, FL, 2009
Melin Building Gallery Miami Design District, Miami, FL, 2009
Art Rouge Gallery of International Contemporary Art Midtown Miami, FL, 2008
Art Basel Miami Beach private exhibition, Star Island, FL, 2008
SELECTED GROUP SHOWS
(bio-prosthetic heart valve challenges after environmental exposure)
Art Basel Miami Beach Ten Museum Park Penthouse exhibition, Miami, FL, 2012, 2011
American Heart Association Heart Ball, Miami Beach, FL, 2011, 2010
Art Basel Miami Beach private exhibitions, Star Island and Hibiscus Island, FL, 2010
Art Basel Miami Beach private exhibition, Star Island, FL, 2009
American Heart Association Go Red for Women, Setai, Miami Beach, FL, 2009
Marcy Building gallery Miami Design District, Miami, FL, 2009
Art Basel Miami Beach private exhibitions, Aqua/Allison Island and Star Island, FL, 2008
Florida Grand Opera fundraiser, Miami, FL, 2008
Fendi Design Studio Miami Design District, Miami, FL, 2008
Art Rouge Gallery of International Contemporary Art, Midtown Miami, FL, 2008
Art & Design Night opening performance, Miami Design District, Miami, FL, 2008
Winter Music Conference Martin Solveig interactive dance/painting, Miami Beach, FL, 2008
Art Basel Miami Beach private exhibition, Palm Island, FL, 2007
Art Basel New World Symphony and Bélo, dance/painting/exhibition, Miami Beach, FL, 2007
Art Basel John Turchin’s Casa Blanca, dance/painting/performance art/exhibition, Hibiscus Island, FL, 2007
Albertini Arts Wynwood Art District, Miami, FL, 2007
Green Ball, ReThink and ReUse fundraising exhibition, Miami Design District, Miami, FL, 2007
EdgeZones International Contemporary Art Wynwood Art District, Miami, FL, 2007
ArtFlorida and Broward Art Guild exhibition, Ft. Lauderdale, FL, 2007
Art Basel Miami Beach private exhibition, Miami Beach/Sunset Island, FL, 2006
Benefit Equality Florida fundraising exhibition, Miami Beach/Sunset Island, FL, 2006
(2-year misdiagnosed illness resulting in emergency open-heart surgery)
Starfish Gallery, Los Angeles, CA, 2002
Silverlake Art Show, Los Angeles, CA, 2002
Los Angeles Green Festival, Los Angeles, CA, 2002
Earth Day Los Angeles 2001
Indiana University SoFA Gallery 1993
· Carson Case ART “what you seek is always inside” 2012
· Getty ULAN
· Saatchi Gallery 2008
· Florida International Magazine 2010
· WSJN TV 2010
· WKLAN 2010
· Austin Post 2010
· Austin Chronicle 2010
· Fashionably Austin 2010
· WSVN’s Deco Drive 2009
· Carson Art Digital Catalogue 2009
· NPR Cutting Edge series 2009
· NBC Morning Show 2009
· Melin Gallery Art Catalogue 2009
· CBS TV 2008
· South American TV 2008
· Miami Design District Magazine 2008
· Miami ArtZine Artist Spotlight 2008
· ArtInfo Gallery Guide 2008
· Art Rouge Gallery of International Art Catalogue 2008
· Art Rouge Blog 2008
· Turismo en Miami 2008
Fendi Gallery, Miami Design District Driade Gallery, Miami Design District
Melin Gallery, Miami Design District
Marcy Gallery, Miami Design Dstrict Marcy Gallery, Miami Design Dstrict
which door holds YOUR truth?
photo by Diego Cappella
• New York Foundation for the Arts, 2013
• Artist Fellowship, 2012
• Haven Foundation, 2012
• CERF+, 2012
• Vivian Springford Art Trust, 2011 and 2012
• FL Division of Cultural Affairs Artist Enhancement Grant, 2008
• ArtFlorida and Broward Art Guild competition, 2007
• Rotary Ethique Professionale Award in France, 2007
• Darla Moore Fellowship, 2004 and 2005
2000-2002 Carson begins having more powerful and unexplainable experiences that expose sensitivities to visual and
tactile stimuli, both seen and unseen. She later recalls similar childhood experiences. The experiences transform her work.
She has revelations with dancer photographs; her style is realized. She has a vivid dream of herself with red hair (her hair’s
birth color that changes at age 2) in different centuries in time with one man she meets 3 days later, and another she
meets 12 years later.
2001 She travels to Greece to sail and meet the family of her first great love. She sails to Amorgos, Donousa, Mikonos,
and Santorini, which has a mind-opening archaeological dig with architecture similar to Frank Lloyd Wright (a place sited as
the possible Atlantis)
2002 Carson experiences a long breakup with her first love, and becomes increasingly ill. She associates the emotional loss
and her breaking heart with her physically breaking heart as a physical metaphor for loss. Explores many alternative
medical treatments after being incorrectly diagnosed with depression and prescribed Prozac, which she refuses. She
experiences increasingly frequent and dramatic supernatural occurrences with numbers, astral travel, time-warps, and other
outer-body and internal progressions. She sees a Reiki Master from Hiroshima. During session, the top of her skull opens
and a beam of light shoots out. She sees a Samurai warrior appear to kill himself. His eyes look like hers.
2003 Carson’s health deteriorates over 2 1/2 years of misdiagnosis. She has emergency open-heart surgery on July 3rd.
Independence Day has a new meaning. Her surgeon tells her that she should not have made it to his operating table; that
she must have God, Angels, Guardians or a strong will to live. He can’t explain it medically.
2004 Surgery leaves her unable to sculpt for over a year, so she enters an International MBA program to focus on
Creativity Management. Carson moves to Vienna Austria and views Kunsthaus, Viennese art and architecture. She attends
the Royal Viennese Ball. She meets Africans daily and becomes enlightened to the often conservative and prejudiced
Viennese. Carson frequents Sagya, an African-owned live music venue and is introduced to musicians from all over the
African continent. Learns from local artists. She begins to combine paint and poetry on x-rays and MRIs.
During the summer, she travels to Rome, learning techniques from artists, and Greece for a multi-week sailing trip through
islands from Kos to Kalimnos, Chios, Patmos, Amorgos, Donousa, Naxos, Paros. She attends the Olympics and sees Bjork’s
2005 Carson lives in Copenhagen. She learns from local artists and learns about Islam from traditional and modern
perceptions of Turkish immigrants. Learns of the challenges for 2nd and 3rd generation Turkish immigrants in a
homogenous, small country. She moves to Paris, learns to sew from a master seamstress, and becomes embroiled in the
racial strife occurring between the French and the open entry of immigrants from formerly French colonies.
2007 Riots break out in Paris. She views overwhelming prejudice and hate. She is caught in a riot after watching a soccer
game at a formal event. The French police refuse to escort her down Avenue Marceau, and she is attacked and dragged
screaming down the street by 8 North African (called Mugrab by the French) teens, her dress ripped from her body, arms
nearly torn from her body, necklace used to strangle her, and eyes wide open as mace is sprayed. She is shocked by the
poor hospital conditions, realizing she might die there. She spots 2 of the 8 in police arrest photos – both arrested
previously for similar behavior, but no one follows up. She is also stalked by a Frenchman and told by the police, that he
must just love her. She realizes the ineffectiveness of the French police. She moves back to the United States.
2008/9 Carson develops the suspension systems after glass companies explain why her vision was not possible. She
completes her vision anyway. She learns to install LEDs, to weld, pour resin, and solder.
2009 Carson’s health deteriorates again, although she is unaware of the causes and initially associates with her heart
condition. During this period, using similar techniques as her sculpting, she begins to sculpt for the body. The medium is a
natural extension, an organic flow of draping, color and pattern sensibility enhancing the true work of art, the body. Many
designs are sculptural and painted.
2010 She attends an ayawaska ceremony with a Dominican Shaman (who says he’s Peruvian). She has powerful kundalini
that the shaman tries to stop during ceremony. She is covered in white light and held by an elder woman. She returns to
age 3 and a voice says to not be afraid of losing breath, to just die, to trust and she’ll awake later. The shaman attacks
her energetically the next day. Her urine turns black. She asks her Mom what happened at age 3 and told she was
standing next to the fireplace and had her first major tachycardia incident. She was white as a ghost and not breathing.
She moves to Sedona to discover she has heavy metal toxicity due to exposure from her art work. She visits the Hopi
reservation and helps a Hopi Seer save fledgling eagles. He tells her she’s a Seer.
2011 She meets her second great love in September at the French cultural center, but they are separated by circumstance
9 months later.
2012 She moves to Brooklyn in January. In April, she becomes ill and in June learns that her tricuspid pig valve has
deteriorated from exposure to toxic molds in her live/work loft. The Department of Health is involved as are other
bureaucratic agencies. She associates her physical experience with the emotional separation.
Carson Case’s rare congenital heart condition, dance, travel and synesthetic experiences significantly affect both her
process and the changing forms of her work. Carson’s interest is to develop organically, with no clear sense of time and
limitless space. Her art subjects are often dancers, nudes, nature, horses and sailing ships. She always strives for stylistic
and intellectual freedom, and finds formal education limiting.
Carson Case’s early painting style is figurative and explores impressionism and surrealism, but after photographing dancers
while experimenting with slow shutter speeds, she develops a rhythmic expression for her painting work. As a result, her
painting work becomes more abstracted with hints of figurative elements. Her paintings reflect her sculptural work, and a
synthesis has begun. Her style also begins to reflect her synesthetic experiences.
Over the course of her career, Carson uses a variety of media that are quite unique to her body of work, such as glass and
metal, circuit boards and x-rays. The works range from medium to large-scale works. Paintings are on sheet metal, metal
studs and glass, reused from demolition sites. Paintings on glass are suspended from the ceiling, or displayed in
handcrafted wood stands. Sculptures are often suspended, balanced, and are to be implemented on monumental scale
in fountains, on grand lawns, and organically integrated in nature. Sculptures and paintings are designed for installation
indoors and outdoors to interact with nature and architecture.
Carson is an extremely intellectual artist in terms of her themes and perspectives, however when she works and begins to
create pieces, she works with abandon, allowing forms to flow freely. Some pieces are pure emotion. Others are
observations and reflections.
Timeline and development of work
1970 Carson was born with a rare congenital heart condition, which significantly affects both her process and changing
forms of her work. Her grandfather was a big band leader; grandmother, artistic, entrepreneurial and fashionable; great
uncle, concert pianist and mathematician; father, a rock with sensitivity and ever-expanding mind; mother, a jazz pianist
and political bulwark who enrolls her at an early age in dance, art and music classes although later encourages more
practical pursuits and abilities, like math and science.
1975 Carson’s cardiologist Dr. Marion Molthan takes Carson to her horsefarm to ride for the first time.
1977-8 Carson takes her first classes in charcoal and painting. She spends a significant part of her youth through young
adulthood in ballet and jazz rehearsals, and studies with luminaries in the dance world. Born into a family of many
musicians, she readily plays clarinet and piano, but focuses on dance. She begins to ride horses bareback on the canals in
Arizona. The sensations of these experiences are seen throughout her work.
1980 She loses her Grandfather, a significant figure in her life. She shuts down and disengages. Carson’s philosophical,
global and political interests can be attributed to her grandfather and are prevalent in much of her work.
She is accepted into the ballet company that Jean Allenby, a former Stuttgart Ballet internationally-renown Prima ballerina,
forms in Evansville Indiana. Over the years, she trains with the Joffrey Ballet and Gus Giordano in Chicago, National
Academy of the Arts in Champaign, Alvin Ailey and Merce Cunningham, The Edge and Dance Arts Academy in Los Angeles,
and Campanhia de Danca’s Deborah Colker.
1987 Carson rebelliously quits ballet (although reconvenes in college to a moderate degree resulting from breathlessness).
Her health deteriorates and she self-medicates to avoid doctors.
1988 Carson attends the University of Miami, Oxford. She studies chemistry and calculus, and then enters the
architecture program. She continues to sculpt. She explores the work of Antoni Gaudi and joins the equestrian team for
unlimited access to horses and riding.
1990 Carson becomes ill. She is forced to leave school and transfers to The Herron (now Hope) School of Fine Art at
Indiana University to study sculpture with Jean-Paul Darriau (Guggenheim Museum, the Joseph Hirshhorn Collection in
Washington D.C., Walker Art Center in Minneapolis, Denver Art Museum, Galleria Schneider in Rome, and the Smithsonian
Institute.). She photographs dancers with slow shutter.
1995 Her friend dies of a drug overdose. She is inconsolable.
1999 Carson moves to Los Angeles after traveling Europe for four months, and continues to develop her painting style, but
is unsatisfied. Nudes in clay and metal sculptured dancers covered in fabric and plaster mâché are her preferred medium.
BFA: Sculpture, Photography, Painting, Design;1990-1993
Herron (Hope) School of Fine Arts; Indiana University, Bloomington, Indiana
mentor/employer: Jean-Paul Darriau, Sculpture Professor (Guggenheim Museum,
Hirschorn Collection, Walker Art Center, Denver Art Museum, Galleria Schneider in
Rome, Smithsonian Institute)
· Sculpture/Mobiles (many kinetic) for home and monumental
· Painting (2D and 3D) for inside and outside/Collage
· Concrete poetry (not the traditional concrete)/Installation
Trained with Field Experts
project management (in the field), painting techniques (artists residing in East and West Europe), resin (resin expert for
boats and bars), welding and soldering (metal sculptor and fabricator), electrical LED installation (electrician), vocal
(private coach, Philharmonic Chorus), improvisation (coach), directing, cinematography and acting (on set film and TV)
Formally training and Master Classes with dance luminaries (ballet, jazz, modern, samba)
· Stuttgart Ballet’s internationally-renown Prima ballerina Jean Allenby founded ballet companies in Sarasota/Indiana
· Alvin Ailey/other, Horton techniques, Alvin Ailey American Dance Theater, NY, NY
· Merce Cunningham, Merce Cunningham Dance Company, NY, NY
· Gus Giordano, Gus Giordano Jazz, Chicago, IL
· Joffrey Ballet, Chicago, IL
· National Academy of the Arts, Champaign, IL
· Campanhia de Danca Deborah Colker, Samba, Rio de Janiero, Brazil
· Martha Graham Dance Company, Modern, Los Angeles, CA
· The Edge, Hip-Hop/Jazz, Los Angeles, CA
· Dance Arts Academy, Los Angeles, CA
· Stephen Mills, artistic director Ballet Austin, Austin TX
· other: African tribal, Afro-Cuban, Argentine Tango, East Indian, Irish folk, 2-step, Mambo, Moroccan, Native American,
Salsa, Samba, Swing, Viennese waltz
· Choreography mixes styles - dance, art performances, fashion shows
· Began choreographing at age 17 (1st place national awards for Best Choreographed Dance)
www.carsoncase.com As a dancer, Carson developed an acute awareness of form and how movement dynamically affects
the body and different types of fabrics covering it. Limited by space constraints in Paris, she directed her fascination
with three-dimensional form to developing a couture line of dresses under the tutelage of a master seamstress.
INTERNATIONAL MBA: Creativity Management 2005
University of South Carolina Moore School of Business/Wirtschafuniversität Wien (studied in Vienna, Copenhagen, Nantes)
(Focus: Creativity Management with coursework in change, virtual and supply-chain management and modular design - to
manage my creative work and modular/virtual fabrication of my projects, develop work, and examine local artisans)
BA: West European Studies; Minors: German & independent studies in Brazilian & Japanese culture;1990-1993
College of Arts and Science; Indiana University, Bloomington, Indiana
Architecture, Structural Design, Sculpture, Drawing; 1988-1990
University of Miami (Miami of Ohio), Oxford, Ohio
To hear with no sound...
To see with closed eyes...
To feel without touch...
To smell without scent...
To taste without flavor...
To know the beyond...
upon lifting the veil,
these gifts will arrive...
own your own hand