Carrie Ann Baade is known for rich allegorical meta-narratives oil paintings. These painted parables combine remnants of Renaissance and Baroque paintings, creating surreal landscapes inhabitied by exotic flora, fauna, and figures.
As a contemporary painter, she returns to the relevant moments in art history in order to reclaim them, not merely as a quotation of a theme or an image, but also as the materiality of methods and techniques that ultimately create them. As a native born Louisianan, Carrie Ann Baade has deep southern roots but she has traveled and studied painting history & techniques around the world. Since moving to Tallahassee in 2006 she has continued to actively exhibit nationally and internationally.
Baade was awarded the Florida Division of Cultural Affairs Individual Artist Fellowship in 2010, the Delaware Division of the Arts Fellowship for Established Artist in 2005, and was nominated for the prestigious United States Artist Fellowship in 2006 and the Joan Mitchell Grant in 2012. Her work has been exhibited in museums and galleries nationally and internationally, including recent solo exhibitions: the Delaware Center for Contemporary Art, the Rosenfeld Gallery in Philadelphia, Billy Shire Fine Arts in Los Angeles, the Ningbo Art Museum in China, and the Museum of Contemporary Art in Jacksonville, Florida.
She received her Masters in Painting from the University of Delaware and her BFA from the School of the Art Institute of Chicago that included one year study at the Florence Academy of Art in Italy. The NY ARTS Magazine, the Philadelphia Inquirer, Austin Chronicle, the Albuquerque Journal, and Philadelphia Today have reviewed her work. She currently lives and works in Tallahassee where she is an Associate Professor of Painting and Drawing at Florida State University.
Steward and Ax Woman
As an artist and subject in my work, I serve as the steward and the ax man to art’s legacy. Studying with art conservators and looking at the old masters has informed my choice to revitalize the archaic traditions of both traditional oil painting and egg tempera. My subjects are adopted from religion and mythology; these are often cautionary tales that mirror my personal experience. In desiring to speak to the complexity of the human condition, I use this language of allegory and narrative to relate my own story, which is at once an age old.
The ideas for my work may start in the fanciful and idealized world of the mind, yet something must be generated to observe from. To begin a composition, I start with scissors, clipping fragments, composing from snippets of several hundred pictures scattered about me on the floor. A prototype collage of layered scraps with cut edges is created that includes an array of photographs and images from art history. Looking at this collage, a painting is executed in a trompe l’oeil manner showing the multiple layers with cut edges which suggest the complexity of individual’s psychologies – their masks and their hidden secrets. To create these paintings, I cut up and serve the reinvigorated past to be contemplated in context of the contemporary.
Currently on display in the Westcott Offices of the President and Provost: