Some works, like Two of Everything and The Sea is in Between (both 2014), look more like collages than paintings, mixing Carnwath’s visual motifs—the sinking ship, the LP—with diagram-like sketches and snippets of text, some of the words and phrases intelligible, others abstract. In each individual piece, there’s a lot to look at, and several elements that feel mysterious. And yet the sensation of nostalgia is almost palpable. The same is true of a piece like Toile Ships (2014). Though the concept here is simpler—the ship motif is repeated at regular intervals, pattern-like—there’s an enigmatic feel to the painting. And thanks, in part, to another pattern overlaying the ships, this one vertical, evoking pelting rain or teardrops, there’s an unmistakably melancholy quality to the work.