Carol Reed has been an artist and teacher for over thirty years, and as a passionate world traveler has had a lifetime fascination with the beautiful and bizarre. Exploring the world literally and figuratively through non-objective images, she has developed a complex and evolving personal visual vocabulary.
Carol has undergraduate degrees in Art Education and Fine Arts and a Master's Degree in Design. She also holds a Master of Fine Arts from the Maryland Institute, College of Art. She taught design for nine
years at the University of Alberta, before joining the staff of The Smithsonian Institution in international museum education. As a cultural heritage consultant for the World Bank, she has, through exhibitions and special programs, helped to put a public
face on the cultural awareness of several international organizations. Her travel to over 70 countries has influenced and informed the art she makes, as have the strange and beautiful stories of the people she has met along the way.
Carol's work is included in over thirty corporate, private and public collections, including the United States Information Agency, The United States Department of State, The Library of Congress, The
Smithsonian Institution, and The National Museum of Women in the Arts.
"As an artist with specific sensibilities developed in the west, I have been challenged to respond to the intricacies and depth of cultures other than my own. Exploring the material culture of other
countries, I have discovered that utilitarian objects serve as an insistent symbol - and a jolt to my imagination.
Only semi-recognizable in many of these drawings, the simple geometry of things like a comb, nutcracker or stirrup have evolved into new symbols in a new context.
My drawing approach is dominantly graphic, and begins with intuitive markings and spontaneous gestures - that often follow an impulse. Erasures, corrections, uncertain scratching and constant revision is
always evident. These drawings are about hesitation and distortion as part of my normal creative apparatus. I am always surprised that the results are more than just a direct response to objects but, in fact, rather something of the space, light and time of