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Jelena Krivokapic

Stephen Carter started to paint his set ‘Westway’ in 2002 as a set of paintings and drawings, a kind of continual record of his wondering as a flaneur, a free aimless stroller through chosen localities. The topography that obsessively attracts his attention is the industrial landscape, more precisely the inner space defined by a network of overpasses and motorways that lead to west London. The powerful infrastructure of the main motorways, which promises easy and swift mobility towards the desired destinations high up above the ground, resounds like an echo of one’s own inner side, a series of solid supporting concrete blocks and constructions whose rhythmical connections interchange with segments of solid texture of light in the background.