Carolyn Lavender

Deep Thinking, 2004  oil, 1" doors, hinges on wood panel. 55 x 45"

I created this work for the 2004 Presidential Election. This mirror self-portrait, on a wooden panel, is pierced with 99 one inch hinged doors. The viewer opens a door to reveal a crude message about the republican president. The viewer is tempted to think that there might be a different message behind one of the doors, but I am  unchanging in my opinion.

Deep Thinking, (detail) 2004  oil, 1" doors, hinges on wood panel. 55 x 45"

I created this work for the 2004 Presidential Election. This mirror self-portrait, on a wooden panel, is pierced with 99 one inch hinged doors. The viewer opens a door to reveal a crude message about the republican president. The viewer is tempted to think that there might be a different message behind one of the doors, but I am  unchanging in my opinion.

Anatomy of Polarization 1, 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 1 (left detail), 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 1 (right detail), 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 2, 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Anatomy of Polarization 2 (left detail), 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Anatomy of Polarization 2 (right detail), 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Teacher, 2003  graphite, gouache, acrylic, oil on canvas. 45 x 50"

This piece pairs mirror self-portraits, drawn on a single piece of canvas, with declarative statements. I have been teaching most of my adult life and I am making statements about myself, and what influence I may be having on my students. –“Passionate, intense, intimidating, outspoken, flexible, creative, liberal, open-minded, encouraging, demanding, non-conventional, inspirational, compelling, not religious, and teaching your children.”

Mirror, 2002  graphite, gouache on canvas. 50 x 72"

Each of the 15 mirror self-portraits are captioned with feminist declarations. Some of which were influenced by the 9/11 terrorist attacks. 

Captions: I get to pick out my own clothes. I get to show my hair. I get to wear make-up, or not. I am married, but I choose not to wear my wedding ring. I don’t have to have children. I walk late at night by myself. Sometimes I wait on my husband, usually I don’t. For 15 years I was a role model for teenagers. My husband chose me for my independent nature.  I place animals and the natural world on the same level as people. I grew up after the pill and before HIV. I am the product of unconditional love. I get to say what I think. I am more than something for men to look at. My family is full of great female models.

Mirror (detail), 2002  graphite, gouache on canvas. 50 x 72"

Each of the 15 mirror self-portraits are captioned with feminist declarations. Some of which were influenced by the 9/11 terrorist attacks. This portrait declares, "Sometimes I wait on my husband, usually I don't"

Election 2000 7, 2001 graphite, gouache on paper. 43 x 48"

The 20 mirror drawn head, each captioned with "I still feel this way", state that I will continue to get up every day with feelings unchanged. As the title indicates, this is my intense unhappiness at the outcome of the 2000 presidential election. 

Election 2000 7 (detail), 2001 graphite, gouache on paper. 43 x 48"

The 20 mirror drawn head, each captioned with "I still feel this way", state that I will continue to get up every day with feelings unchanged. As the title indicates, this is my intense unhappiness at the outcome of the 2000 presidential election. 

Election 2000 4, 2001  intaglio. 18 x 24"

This print addresses my unhappy reaction to the 2000 presidential election. My mirror self-portrait is on an out of balance fulcrum. The bar along the top references the multiplicity of a single vote. Each square from right to left has double the lines of the previous square. The kiss prints were done directly on the plate as an act of extreme frustration and anger.

Election 2000 6, 2001  intaglio. 14 x 11"

Using the mirror self-portrait as a way to express my unhappiness regarding the 2000 presidential election, I am resting my face on an out of balance fulcrum. 

Election 2000 2, 2001  drypoint. 6 x 8"

Using my mirror self-portrait to express my unhappiness regarding the 2000 presidential election. The upside down troll doll and hearts are statements of how things are wrong. The kiss is sarcasm and anger. 

Election 2000 8, 2001  mixed media, polaroid transfer on paper. 9 x 7"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 9, 2001  mixed media, polaroid transfer on paper. 10 x 7"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 10, 2001  mixed media, polaroid transfer on paper. 8 x 6"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 1, 2001  mixed media on paper. 48 x 59"

The 2000 Presidential Election caused me to abruptly change my work to focus on the highly controversial event. Election 2001 was begun on the night of the Supreme Court decision that secured the election. I tore a large sheet of paper from a roll, pinned it to the wall, and wrote “Something not to be, a republican!” I then painted my face black, rolled it on the paper, which I repeated 3 more times. The next step was painting my lips white, and kissing the paper until there were 900 white kisses in regular rows across the drawing. 

A False Sense of Loveliness 1, 2001  mixed media, polaroid transfer on paper. 10 x 7"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.

A False Sense of Loveliness 2, 2001  mixed media, polaroid transfer on paper. 8 x 7"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.

A False Sense of Loveliness 3, 2001  mixed media, polaroid transfer on paper. 8 x 6"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.