Carol Wald’s formative years were spent feeding an unquenchable thirst for art history.  Having grown up in Detroit, she developed a love of the picaresque, manifested in paintings that evoked the beauty that lay beyond the grim reality of her northern industrial city.  As a young summer boarder in the farms and fields surrounding Michigan and Wisconsin, Wald spent hours tirelessly honing her painter’s hand.  She would hand out cards introducing herself as “a student wanting to become an artist,” offering to paint neighbors and pets for five dollars a piece.  At a local art store she completed quick studies for tips while her periodic art-show winnings enabled her to paint for months.  After excursions to England and Holland Wald arrived in New York and became a successful graphic artist, contributing regularly to such publications as the New York Times, Viva, New York, Ms., and Saturday Review.  She returned to acrylic work in the 1980s, garnering major solo exhibitions at the Kennedy Galleries.   In 1990 she moved to Canada and set up a small studio in Burlington, Ontario where she undertook her most evocative series of psychoanalytical works until her untimely death at the age of sixty-five. Through her visual and psychological references to an older, more spiritually complex world, Carol Wald presents a sequence of images that form a cumulative perception of reality – each painting “one frame of a motion picture transporting us on a journey through time.”

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