Monica Carrier Art Portfolio

by | Jul 24, 2025

A woman in a patterned skirt lies supine on a green bed next to a dog. Her hands cover her face. Her feet are bare, and hang off the edge of the bed.

“The Marriage Bed” (2022). Ink on synthetic paper. 60 x 60. Copyright Monica Carrier, 2025.

Domesticity gets deified in Monica Carrier’s collection, bringing high and low together to showcase the absurdities and sincerities of daily life. In vivid colors in ink and oil, Carrier depicts such goddesses as Hecate and Persephone, caught as if by candid camera while they scroll their phones or take Zoom calls. They’re quiet and sacred moments, captured by Carrier’s sketches of family and friends, which she then evolves into her vibrant works.

Carrier’s images remind the viewer that the quotidian is never dull, but rather precisely that which deserves reverence and attention. That attention is made manifest by Carrier’s eye-popping colors, her crisp lines, her allegiance to her materials. She considers her role as akin to that of a translator, or medium. Drawing, for Carrier, is a ritual. Reiteration is the method by which her images emerge. Her chosen word for her interactions with subjects and materials? Communion.

Carrier’s visual language is playful and intuitive. Faces are obscured, corners meet at odd angles, subjects leak beyond the limits of their spaces. The strange spaces are the result of Carrier’s fascination with pareidolia––the tendency to perceive a meaningful image or pattern where none exists. Carrier’s work reminds us that the only meaningful patterns and images that exist are those we make by surrendering to intuition, by accepting the daily as deific.

Two people, visible from the shoulders up, stand facing the viewer. One wears red polka dots, the other a striped tank top. Their faces are slightly obscured.

“Atmospheric Pressure” (2020). Ink on synthetic paper. 60 x 60. Copyright Monica Carrier, 2025.

Three individuals stand posing for the viewer. One resembles a clown, another wears all black, a third is balanced on a yoga ball that resembles the moon.

“Steppin’ Out as Hyenas & Medusas” (2022). Ink on synthetic paper. 60 x 60. Copyright Monica Carrier, 2025.

A woman with red nail polish rests her head on the lap of a man as she watches video on her phone. The man's hairy belly protrudes from under his shirt, and he is looking at his own phone. A dog sleeps nestled between them.

“Hecate Relaxing with her Father & her Beloved Hound” (2025). Oil on linen. 40 x 30. Copyright Monica Carrier, 2025.

A young woman with a pixie cut stoops in concentration over a ringed notebook. She is writing with a pencil.

“Eve Doing Homework After Eating an Apple” (2024). Oil on linen. 10 x 8. Copyright Monica Carrier, 2025.

A young woman in a pink sweatshirt sits at a table. She is eating a sandwich, looking at the viewer with blue eyes and a placid smile.

“Mokosh Eating a Sandwich” (2025). Oil on linen. 24 x 20. Copyright Monica Carrier, 2025.

A woman with black hair and black clothes sits looking slightly away from the viewer. She is visible from the shoulders up, and behind her the corners and wall hangings of a room can be seen.

“Persephone on a Zoom Call” (2025). Ink on paper sewn to linen. 12 x 16. Copyright Monica Carrier, 2025.

Monica Carrier

Monica Carrier

Monica Carrier (b. 1978, Philadelphia) works with both ink and oil paint, loosely referencing sketches of family and friends. Exhibiting widely, including solo shows at A.I.R. Gallery and Thomas Hunter Project Space in New York, and Fjellerup i Bund & Grund in Denmark, she has been awarded fellowships, residencies, and grants from Hunter College, A.I.R. Gallery, and Arts@Renaissance. Carrier regularly curates exhibitions, frequently at PeepSpace, a gallery that she founded in 2020. Carrier holds a BFA from Tyler School of Art and an MFA from Hunter College. She lives in New York with her two children, her partner, and their dog.

Flynn Mixdorf

Flynn Mixdorf

PubLab Fellow 2025

Flynn Mixdorf is a writer from Indiana. He co-edited the 2025 edition of Faultline Journal of Arts and Letters. His own fiction focuses on the intersection of economics, environmental intransigence, and intergenerational relationships. He holds an MFA from the University of California, Irvine.