Nathan Carter's wall reliefs, sculptures, drawings, photographs, books, and audio recordings draw their inspiration from a wide range of existing "ready-made" systems, including decaying technological devices, pirated coomunication networks, rogue nation-states, rolling blackouts, picaresque novels, and the labyrinthine graphics of mass transit. Carter has long been drawn to the theatricality of dioramas in which complex worlds are explained in a single scene. His works often allude to the sporadic failures of dystopian urban experience, especially our often improvised and convoluted efforts to repair and maintain infrastructure. Made of metal or wood and painted in bright, joyous colors with a deliberately unpolished handmade quality, they freely reference modernist strategies of play and intuition.
Carter is represented by Casey Kaplan Gallery, New York and Galerie Esther Schipper, Berlin. He has participated in exhibitions at the MAK Museum, Vienna; The Tate Modern, London; the Palais de Tokyo, Paris; and “Greater New York” at PS1. Solo museum exhibitions include THE FLYING BRIXTON BANGARANG AND RADIO VIBRATION VEX-VENTURE, the Museo de Arte Raul Anguiano, Guadalajara, and THE COVERT CAVIAR FREQUENCY DISRUPTOR at ArtPace, San Antonio. Solo gallery shows include BROOKLYN STREET TREASURES VERONICA VEX AND POCKET SHRAPNAL SET-UPS at Casey Kaplan Gallery and SLAYER METALLICA at Galerie Esther Schipper. Recent shows also include "Alexander Calder and Contemporary Art: Form, Balance, Joy,” at the Museum of Contemporary Art, Chicago, and the Nasher Sculpture Center, Dallas. Carter published CLANDESTINE RADIOS AND CONCEALED KITCHENS in collaboration with One Star Press, Paris, in 2011 and his work was included in the Map as Art exhibition at the Kemper Art Museum, Kansas City in 2012.