Keith Carter: Beak of the Finch (FotoFest 2016 Biennial)

Catherine Couturier Gallery is delighted to present the work of gallery artist Keith Carter, entitled Beak of the Finch. The artist will be in attendance at the opening reception on Saturday, April 9, from 5-7 p.m.

“This new body of work explores the world as I know it, or maybe as I still hope to know it. In parallel with our shifting environment, I have applied new selection pressures, replacing color palettes and patinas, and instinctively documenting an evolving landscape, exquisite even in its chaos. In my leaky Noah’s Ark, I am loading up the unpredictable, disturbing, and occasionally rapturous new inhabitants. They are simultaneously a measure of our loss, and the embodiment of hope and future possibilities.” Keith Carter

Known for his stunning prints depicting dream-like images of animals, folklore and people, Keith Carter has a history representing his East Texas home through his transcendent realist style.

Winner of the Texas Medal of Arts and recipient of the Endowed Walles Chair of Art at Lamar University, Carter’s work has been shown in 100 exhibitions across 13 countries, including the National Portrait Gallery, the Museum of Fine Arts, Houston, and the Smithsonian American Art Museum.

He is the author of 11 books, with his most recent published books titled Fireflies and A Certain Alchemy.

His new collection, “Beak of the Finch,” is the first exhibition produced in color in 40 years with a disconcerting theme of human expansion and its perilous effect on the environment.

“Climate change and loss of species have us barreling into the Anthropocene, the sixth mass extinction in the history of the planet,” Carter states. Carter’s work evolve in style with each individual print embodying a color palette from an iconic masterpiece, far different from his black and white images, often including minor details to give the illusion of a painting.

Keith Carter: Beak of the Finch will be on view from April 9 – May 14, 2016.

Pictured: Himalayan Monal, 2015.