In "Reduce Me To Who I Am," Carter orchestrates an intimate dialogue with himself, simultaneously spurring analogous introspection within viewers. This exhibition probes the distinctiveness of various personae within the self, leveraging the intensity of this discourse to interrogate the prevailing dogmas impacting accessibility and affordability within the contemporary art landscape. This body of work delves into the metamorphosis of identity, exploring the multifaceted layers of self that coalesce as a consequence of lived experience. Textural depth and dimensional complexity serve as the cornerstones of Carter’s artistic praxis, manifesting through a diverse array of media.

Jamaican-American | Mixed-Race | Only Child-Sibling | Businessman-Artist

Redefining the concept of the multi-hyphenate, Carter recounts a life poised between dualities.
He exists in a perpetual state of liminality, just beyond the reach of congenial consensus,
comfort, or conformity. It is within this interstitial space that the exhibition resides. Carter invites
the audience to contemplate the elements of their being that merits preservation or purgation, while asserting that what once was will always be, even in its absence. In imploring to be reduced only to his essential self, he posits that these two metaphorical extremes—who he is and who he aspires to become—are ultimately synonymous and require equal reverence and respect.

Extending the concept of reduction from theory to praxis, Carter curates a singular mural-sized
artwork that has been deconstructed into 32 smaller works. Each piece maintains its
distinctiveness while remaining inextricably linked to a shared whole. Onlookers are asked to determine for themselves whether “what was” or “what is” deserves attention and focus. Furthermore, Carter challenges the audience to examine the historically inseparable relationship between wealth and art, which frequently positions accessibility and prestige at opposite ends of the spectrum.

In a radical departure from conventional pricing models, all works will be priced as percentages
to be applied to the prospective patron's income. At a minimum, he encourages viewers to assess the raw sensations born out of this encounter, invite curiosity and malaise into the space, and simply coexist with what manifests—for they are all facets of the same whole.

Keegan Carter (b. 1992) is a self-taught visual artist living in the cultural tapestry of Los Angeles, CA and is a graduate of Georgetown University. His work examines the ever-shifting notion of "I" and the duality inherent in the human condition, positing that our shared humanity lies paradoxically in our individual uniqueness. Having curated self-exhibited shows in the urban
crucibles of Oakland, Brooklyn, and Atlanta, Carter has cultivated a praxis that challenges the
established paradigms of the fine art ecosystem. As he continues to plumb the depths of
self-understanding through his craft, he aspires to ignite parallel voyages of self-discovery in
those who encounter his work, fostering a collective exploration of identity and perception.

Special thank you to HILL, Kacper Beski, Jack Lefkowitz, Tommy Schonder, Lauren Dorman, Melanie Wainwright, Jenna Zeidan, Nuna Atadja, Modi Oyewole, Jamad Mays, Mateo Garcia, Clay Steel, Briana Okyere, Bianca Mendez, DeeDee Casimir, Shelley Silverman, Stephanie Gergeres, Gine Roberson, Seun Oyewole, Lonnie Ro, Abigail Lewis, Majorr Smith, Naray Ambrosio, Ikenna Poyoke, and Brandon Scott Roye.