Charlotte’s artistic practice is deeply informed by her Bahamian heritage which infuses her work with a distinct vibrancy. Having a focused palette and a kinetic approach to mark making, the work exudes a meditative trance in which viewers trace the fluid and skilful movements across the canvas. This work is grounded in a ‘felt sense’ of the world, where the physicality of the practice pulls you into otherworldly pictorial landscapes.
Across the picture plane, energetic atmospheres expand, contract, and disperse, resulting in a dynamic tension that is both conscious and unconscious. Layers of paint—gestures, erasures, and singular strokes—bring each painting to life through a process of discovery. Abstracted figures with no definite narrative emerges, becoming an ode to the medium’s alchemically transformative qualities, in which through various mixtures offer a contemplation of half a memory of a time, place and presence.
The paintings are in motion akin sequential and cinematic scenes which when looked at in unison surrounds us and takes us into a voyage across multiple temporal and spatial spans. Just like memories, they frame a sensibility of a detail that washes away with the passing of time, and with time, we encounter such expressions leading to other memories connected to the original.
Charlotte’s idiosyncratic viewpoint becomes microscopic as the range of perspectives oscillates from intense detail to expansive terrains, though one can argue that paintings such as Second Painting for the Unknown Lady (2024) or Second Painting for Pale Jay (2024) become intimate encounters at a cellular level in which colours melt across the surface to delineate formations that make a whole that are often unconsciously neglected by being unseeable by the naked eye. The artist’s process is an act of recognition as the work becomes portals that recognise the realities of our world, preserving them in a pattern of sensations, trances and organic infrastructures.