Carson Case art book


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Carson Case art book

  1. 1. 1 “walk through your sea of fire”
  2. 2. 3 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 have God, Angels, guardians...” 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 this world. 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 beautiful world. 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
  3. 3. 5 Contents contact     4 Vision     6 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 education     57 self portrait by Carson Case 786.382.6688 Getty ULAN Fractured Atlas World Artist Catalogue Saatchi Gallery Art Review profile Slideshare Art Book Facebook Twitter contact
  4. 4. 7 “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 elements. Vision PLAY dance LIVE 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 artist Biography 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.
  5. 5. 9 artist Statement 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 and shadow. 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.
  6. 6. 11 Musée d’Art Moderne de Lille Lever House, New York City The following photos depict my vision for my works installed to scale at prominent locations. 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
  7. 7. 13 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. public engagement near Richard Serra’s “Snake” at Guggenheim Bilbao int. an interacting metaphor
  8. 8. 15 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 industrious. 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. process & 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 tango. 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
  9. 9. 17 Lost Souls They’re screaming, screaming Help me out The door is locked I can’t get out The sides have swollen Closing tighter Inside, the lost soul that cannot hide Refrain 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 Help yourself 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 Refrain 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 Refrain 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 women’s empowerment 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 myth). 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”
  10. 10. 19 “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)”
  11. 11. 21 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” “My Gift” “Ecstatic” photos by Diego Cappella
  12. 12. 23 “Enlightened Breath” “The Playground” “Planetary Vision” 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
  13. 13. 25 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” “Joyful Bliss” “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.” Rumi 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 Vessel” “The Chinese Dragon” A Chinese Dragon, or Lung, symbolizes power and excellence, valiancy and boldness, heroism and perseverance, nobility and divinity. A dragon overcomes obstacles until success is accomplished. 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 “Shaman” “Conception” 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
  14. 14. 27 “Connection” “Always here, chooose me” sea plants, glass, resin 4.5’ X 3’ 2008 “Blue Fly” oil, acrylic, sand, seaweed, broken glass, deceased blue fly, recycled glass sheets, resin, aircraft cable suspension, aluminum channel 1.58’ X 1.58’ 2001-2009 paintings, glass and sea plants sea plants, glass, resin 4.5’ X 2.5’ 2008 sea plants, glass, resin 6’ X 6” 2008 “Find Me”
  15. 15. 29 “The Phoenix” 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 paintings, canvas
  16. 16. 31 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
  17. 17. 33 “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 indivisible pair. 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 “Tango” “Milonga” “Mambo” sculptures, Ecumenical Ecstasy
  18. 18. 35 “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 to prophecy. 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
  19. 19. 37 Innovation will alleviate our impact on nature if we are ethical and responsible. We have tremendous opportunities. “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
  20. 20. 39 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?”
  21. 21. 41 “Caged Fairies” 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 interior walls. 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. installation,“Caged Fairies”
  22. 22. 43 “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. “GMO Failures” “No Room for Humans” “Suffocating Vegetation” 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 procedures.
  23. 23. 45 Only I 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
  24. 24. 47 X-ray photography 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.
  25. 25. 49 illustrated photography,“Charming Face of Pollution”
  26. 26. 51 “The Suckers” ~ 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 disasters. Actors walk around wearing gas masks, disease protective gear, etcetera. LCD wall installation (array of 5X12 - 24” flatscreen monitors running at 1920X1200 that closely fill a wall space) video installation, “The Suckers”
  27. 27. 53 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 SELECTED PUBLICATIONS/PRESS   · 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 SELECT AWARDS • 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
  28. 28. 55 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 performance. 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 SIGNIFICANT DATES 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.
  29. 29. 57 education FINE ART 1978-present 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 · Observation 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) DANCE 1973-present (dance/choreography) 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) FASHION 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. OTHER EDUCATION 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
  30. 30. 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... dance love freedom PLAY achieve enrich learn innovate inspire implement empower improve own your own hand