Press

Sara Carter painted Transport 10 in acrylic on canvas. Layering geometric forms, the San Francisco-based painter presents a new formation of landscape that she says belongs in the subconscious world. "The Transport series refers specifically to the ethereal realm I believe to be an inimitable aspect of the human psyche," Carter says.
Identity Magazine, June 2011

Sara Carter's paintings are a contrast between light and dark. The layering of geometric forms in Carter's work are used to convey space. Within this framework of constructed layers emerges a highly personal description of an environment charged with logical sequencing and subtle emotion. This month visual editor Noah Post engages Carter in an attempt to see through the layers of this veiled spacial language.
Glasschord Art & Culture Magazine June/July 2011

Geoform is an online scholarly resource, curatorial project, and international forum whose focus is the use of geometric form and structure in contemporary abstract art.
Find Sara Carter in their artists directory: Geoform 2011

"Another standout was a series of paintings by Texas-born artist Sara Carter... In a kind of updated 1970s palette of avocados, burnt oranges, lemon yellows, denim blues, and sketchy blacks, her overlapping geometric grids created a sense of peering through the curtains of some desert motel with one's eyes half closed."
Quinn Latimer, ARTINFO, June 12, 2009

"It helps to consider her work in contrast to that of a freewheeling abstractionist such as Ed Moses, who even at his wildest has the grid in mind, and that of, say, Ad Reinhardt (1913-1967), who for a decade played subtle black-on-black variations on a rigid cross."
Kenneth Baker, San Francisco Chronicle, November 12, 2005

"... Carter applies clear acrylic varnish between bright and dark hues, so that the uppermost layers of charcoal brown dry thin and improbably translucent."
Kenneth Baker, San Francisco Chronicle, May 31, 2003

"Conforming her wide brush strokes to a loose grid on square canvases, Carter layers acrylic, generally from light to dark, in paintings that seem to have radiant cores... The deep-centered grids of Ed Moses may come to mind, as may the psychologically charged contrast of dark foreground and bright distance in some of Edward Hopper's work."
Kenneth Baker, San Francisco Chronicle, October 19, 2002