In the forthcoming exhibition As Above, So Below Jennifer Carvalho draws from cinematic predictions of ecological doom to speculate a post-human landscape and the death knoll of the myth of an infinite future. Carvalho's paintings direct their gaze toward a planet that has been irretrievably altered by its human inhabitants. It is no longer clear where the Earth begins and where humanity ends. Emphasizing a withdrawal rather than an occupation in the face of looming environmental catastrophe, her paintings consider the limits of humankind's place within the world.
Using a variety of marks, differing methods of paint application, and a uniformly engaged attentiveness, Carvalho directs the viewer to the surfaces of her paintings as much as to the overlooked and seemingly uneventful places of lived experience they depict. By articulating the specificity of texture and of form, she invests each place with watchfulness and thereby conveys a profoundly ontological understanding of time and place.