Differences, equivalences and similarities, slight discrepancies, shifts and transformations, everything that evokes the almost similar, easily enters the field of John Carter’s artistic research. His vocabulary is made up of simple geometric shapes: the square, well set between its verticals and horizontals; the parallelogram, this dynamic figure with its two obliques that creates the sway and introduces the shadow on its sides; the triangle, often cropped to disappear behind a surface.

They rub against each other, they shift, they create gaps in their sides, thus creating shadows and illusions. Adventures are created, there is the front and what slips underneath it, mirror sequences or systems that are half shifted.

John Carter’s work is governed by rules of play that are both structurally simple and increasingly complex. It invites us to carefully consider the hints of an emerging perspective, the possibility of a gap that would open up a second plane. He attempts to slightly shift the shapes in order to open up a space, to suggest a shift or to create a gap for the eye to see what is happening behind. Which is often the same in reverse. It can also be the colour that blurs the lines by contradicting the stability or integrity of the figure…