Carter uses abstracted drawing as a means of investigation into the shifting concepts of the human body and personal identity. In Untitled, Carter presents a diptych of two rivalling fields of blob-like specimens, each self-contained like Petri dishes nurturing biological mutation. Using his own features as a control for experimentation, Carter’s two panels show subtle variations of the same forms, his abject and non-descript shapes converge as a catalogue of physical possibilities: eyes, lips, noses, and hairstyles float as disembodied samples for facial alteration, while geometric patterns clinically emerge as cell structures, globular tissue, or rough landscapes ripe for cultivation.

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