L’installazione di pittura, disegni, stampe, collage e mixed media presentata dell’artista americana esplora gli aspetti della psiche legati al rapporto del corpo/mente con i suoi stessi confini/pelle/membrane col proposito di superarli e trovare nella natura bucolica, opulenta, feconda e produttiva un eviscerarsi al di fuori del Sè, una spinta oltre il limite.
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Attraverso il suo immaginario caleidoscopico fatto di esperienze personali e memorie intime che la riportano indietro fino alle “origini” (è cresciuta in una fattoria di mirtilli rossi del New England) e che quindi la legano in modo particolare alla terra, al paesaggio rurale e alla natura, Alexandra Carter ci coinvolge e cattura permeandoci del suo metaforico liquido succoso e acidulo.

SUPERFRUTTA! è succo, latte, vino, bacca, seno, seme, pianta, viticcio, nascita, creatività, esplosione, donna, bestia, natura, vita.

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ALEXANDRA CARTER
Born: 1985, Boston, Massachusetts.
Currently lives and works in Los Angeles, California.

EDUCATION
2013-2015 Goldsmiths, University of London: MFA in Fine Art
2011-2012 Maryland Institute College of Art (MICA), Baltimore, MD: Post-Bacalaureate Certificate in Fine Art
2006 – 2009 Rhodes College, Memphis, TN: B.A. in Studio Art
2007 (summer) Accademia dell’Arte, Arezzo, Italy
2005 – 2006 Lesley College/The Art Institute of Boston, Cambridge, MA

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ARTIST's STATEMENT
My work is an exploration of the psyche in the form of painting and drawing influenced by print media, collage, and performance. While riffing on themes of gender, fairytale, and masquerade, I play with the relationship between control and catharsis, visualizing the body coming out of itself, exposing not only one’s guts but one’s internal state--one’s emotions, one’s craziness--in a way that can seem both pleasurable and painful. I draw from my personal background (especially my origins on a cranberry farm in New England) as well as literature, mythology, dance, and costume. My subject matter derives from a large archive of images which I collect and also create from my own performances. Recent interests include expressionist dance movements (specifically German Neuer Tanz and Japanese Butoh), mythological human-animal hybrids, and the words of surrealist artist Unica Zürn. I use alternative media and surfaces to emphasize a visceral mark. The spill of ink on nonporous, translucent drafting film (a.k.a. mylar) refers back to the body permeating beyond its own boundaries. The fluid is juxtaposed with collage elements; using solvents and other transfer methods I directly appropriate reference images from my archive. In recent installations, I suspend works throughout a space, making use of their translucency and presenting them as double-sided paintings that immerse the viewer in their own world. In other series, I paint using cranberry juice, which refers to my background and to the body in an abject narrative. I exploit the staining effect of the juice on antique linens or pillowcases.