Often evolving his drawings from three dimensional models, Carter’s sculpture 1949, Self Portrait of a Homosexual 1965, 1970 poses as a synthetic ‘original’ in his ongoing practice of artistic ‘cloning’. Overt in its sexual subject matter, the title of this work points to key eras in art history where gay politics began to be included (retrospectively) as part of critical discourse. Constructed primarily of plaster and clay, Carter’s busts retain the rough hewn texture of their malleable material. Though titled Self Portrait, Carter conceives his sculpture as amorphous and anonymous, illustrating a process of becoming that transcends gender and social convention.

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