"Darkness is at once something negative, and yet, presenting itself as such, is also something positive; from a philosophical perspective, darkness exists, but its existence is always tenuous, the stuff of shadows, night, and tenebrous clouds. Darkness "is" but also "is not" - and, in a way, this "is not" also "is" darkness. Put simply, the concept of darkness invites us to think about this basic philosophical dilemma of a nothing that is something."
-Eugene Thacker, Starry Speculative Corpse
Carvalho's work focuses on painting's relationship to time, and cites Landscape as a genre within which this passage extends to a geologic scale, while simultaneously providing a formal structure with which to investigate material processes and pictorial space. Buttressed by an interest in the way time is treated in film, her work draws from cinematic predictions of ecological doom to explore themes of darkness and withdrawal. Her work places emphasis on material experimentation, finding fertile ground in slowed action and rumination. As a mode of working, Carvalho acknowledges the immanent contingency of painting, in which each decision might have been otherwise, or not at all.