5 Ocean Boats with Radio

Nathan Carter
May 30 – July 30, 2003

Exhibition view: Nathan Carter, 5 Ocean Boats with Radio, Schipper & Krome, Berin

Photo © Nathan Carter

Exhibition view: Nathan Carter, 5 Ocean Boats with Radio, Schipper & Krome, Berin

Photo © Nathan Carter

Exhibition view: Nathan Carter, 5 Ocean Boats with Radio, Schipper & Krome, Berin

Photo © Nathan Carter

OCEAN BOAT WITH RADIO RECEIVES - IRISH SEA SOUTHEAST SHANNON GALE 8 DECLINING 3 OCCASIONALLY POOR, 2003
Plywood, wire, ink, vinyl, acrylic paint
193 x 152 x 81 cm


Photo © Nathan Carter

Exhibition view: Nathan Carter, 5 Ocean Boats with Radio, Schipper & Krome, Berin

Photo © Nathan Carter

OCEAN BOAT WITH RADIO RECEIVES BADLY - SOUTH FITZROY VISIBILITY 2 TO 3 RISK MODERATE IN LIGHT RAIN, 2003
Plywood, wire, ink, vinyl, acrylic paint
220 x 163 x 142 cm

 

Photo © Nathan Carter

OCEAN BOAT WITH RADIO RECEIVES - ATLANTIC LOW MOVING EAST VEERING TO VIKING MODERATE TO POOR, 2003
Plywood, wire, ink, vinyl, acrylic paint
220 x 182 x 64 cm
 
Photo © Nathan Carter

5 Ocean Boats with Radio

Nathan Carter
May 30 – July 30, 2003
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In his first solo exhibition in Europe, Nathan Carter extends the range of his drawings and wooden wall pictures to include three-dimensional work. 

 

"The five sculptures represent vaguely seaworthy wooden ocean boats dangerously listing and pitching to and fro like damaged racecars. Most ocean boats are equipped with a high powered ship to shore radio for sending and receiving VHF communications (and insults) that create an ambiguous network of perceived audio forms somewhere in the North Atlantic Sea."

 

Between narration and abstraction, Carter formulates an original language whose references range from the barbarian to English bank robbery holdups and the ensuing scenarios that take place when the robbers are on the run up to radio communication processes. He is interested in "mapping the unmappable" - urban infrastructures against the background of invisible lines of movement, invisible communications structures, or mobility structures in general, which emerge in a worldview that is almost childlike in its compression and which are placed in the space.

 

"Contained within the superstructures are disorienting diagrams of fast paced activity. Cross section graphics chart the chaotic inner-workings and re-enactments of nautical manoeuvers preformed with ludicrous bravado."

 

Carter formulates questions about the uncertain and permeable crossing of borders, or rather boundaries, and speculates on new contexts, which are suggested by his transnational cartographies. 

 

As instable representatives of attempts to want to see things in their entirety or at least in a certain context, these "transient water crafts" stand for that which comprises the postromantic focus on world contexts, topography, and iconographic texture.

 

"Precise symbols of national identity have broken down to reveal an eclectic armada of saber rattling pirates whose dubious behavior competes with the other ocean boats piloted by hyper-nationalist ruffians and misplaced meteorologists. The close proximity of the ocean boats current position requires frantic attempts to gauge the temperature and perimeters of international waters to avoid ill-advised maritime interaction and tangled antennas."

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