Of all the works in “This Seems a Home,” Carter enters the work most directly in a single self-portrait, in which her father, out of frame, buzzes her hair as she makes eye contact with the viewer. Recently featured in the New York Times, this photograph was somewhat of a breakthrough in Carter’s series. “I figured out how to make the project expand outside of romance, but love between family and love of self as well,” she said.
Like many of her contemporaries, from ’s
vivid vision of Black utopias, to ’s
exploration of Black girlhood, to Dana Scrugg’s focus on the beauty of Black skin, Carter hopes to show a broader representation of contemporary Black life and identity.
“In the media we see a lot of imagery that’s centered around Black suffering, and so I like to make work that doesn’t necessarily highlight that,” said Carter. “I think that’s an aspect of Black experiences, but there’s so much more to it. I try to make work that makes people—especially Black people—feel good. I make work that I wish I’d seen when I was younger.”