Caroline Coolidge

Parallel Memory (installation), 2024

Photograph showing a closely cropped view of overlapping, bunched up mesh screens on a light-grey floor in four distinct shades of light and dark, blue and green.

Prototypes, 2024

A detailed photograph of a close up of layers of transparent mesh screens that are primarily dark blue with a light yellow-green section on the top right.

Prototypes (detail), 2024

Photograph of a vertical, dark-blue and black sublime abstract painting hung on a white wall.

Parallel Memory, 2024

Detail of a monochrome, blue painting showcasing intricate patterns in of very dark and very light blue, creating striking abstract patterning.

Parallel Memory (detail), 2024

A large, vertical, green, textural sculpture, standing on a light grey gallery floor with a white wall behind it, made out of a translucent fabric material, shiny in some sections.

Flux, 2024

A cropped view of the middle section of a green and grey sculpture, made from treated mesh fabric, with the top and bottom not in view and white walls visible on the left and right sides of it.

Flux (detail), 2024

A close up detail of a fabric mesh covered in layers of thick green paint with intricate dark grey paint drips on the surface.

Flux (detail), 2024

A long, vertical window covered in translucent layers of painted mesh screens, giving the appearance of a glowing impressionist painting, with white gallery walls and an a small section of the concrete floor visible.

Facsimile (Window Intervention), 2024

A detail of a window covered in layers of painted transparent mesh in light dulled shades of blue, yellow, and grey with a smooth white wall filling the right of the image.

Facsimile (Window Intervention) (detail), 2024

A close up of highly textured layers of transparent painted fabric with light shining from behind.

Facsimile (Window Intervention) (detail), 2024

A vertical, translucent, yellow fabric, catching light, cascades from the galleries white-grey ceiling and rests lightly on the room's concrete floor.

echoes, 2024

A close up detail photograph of a lightly yellow painted translucent cloth with light hitting its folds and creating dynamic shadows.

echoes (detail), 2024

A horizontal abstract painting with a dark grey base and translucent light tan, pink, and yellow layers obscuring the darker sections bellow.

Setting Trees, 2024

A detail of a highly layered abstract painting with grey shapes in the background and light pink and tan marks overlaying the marks below.

Setting Trees (detail), 2024

A vertical grey painting with lighter, chalky grey in the foreground and subtle strokes that create lines dividing the painting into four equal quadrants.

Screening Memory (Toxic Impression I), 2024

A detail of a grey painting with chalky marks that resemble whirling fog or smoke.

Screening Memory (Toxic Impression I) (detail), 2024

An atmospheric, lime green and grey green, vertical, abstract painting with subtle marks primarily drawn at right angles to the painting's edge.

Screening Memory (Toxic Impression II), 2024

A detail of a vibrant but subdued, primarily lime green abstract painting with thin darker lines dancing across the image.

Screening Memory (Toxic Impression II) (detail), 2024

A moody vertical abstract painting on light paper, primarily composed of grey and purple marks in the bottom half of the composition, an orange grey in the top left, and dark red purple in the top right.

Reflection in Smog (of Mirrors and Moss), 2024

A close up detail of an abstract painting on paper made from sparkly graphite dust and purple brushy marks at the bottom and right edge.

Reflection in Smog (of Mirrors and Moss) (detail), 2024

A photograph of a large black and white abstract charcoal drawing installed on an angled wall in between white mettle beans, with two smaller light grey prints on the concrete floor beneath it.

The Unfelt Pressure Between the Body and the Screen, 2024

A photograph of two grey abstract prints with white boarders, spaced apart on a textured concrete floor, in perpendicular relation to one another.

Hand Print I & IV, 2024

A grey print with a white boarder comprised of hundreds of marks across the composition that resemble greasy finger and hand smudges.

Hand Prints III, 2024

A photograph showing a black and white, abstract, highly textural, charcoal drawing, installed between two white slanted metal beams and rolled up at the bottom, seen from a font view, with the top of the drawing cut off.

The Unfelt Pressure Between the Body and the Screen (detail), 2024

A photograph showing an angled view of the lower half of a black and white, abstract, highly textural, charcoal drawing, installed between two white slanted metal beams and rolled up at the bottom.

The Unfelt Pressure Between the Body and the Screen (detail), 2024

A zoomed in photograph showing a detail of a black and grey charcoal drawing on paper with visible white finger smudges and highly textured areas.

The Unfelt Pressure Between the Body and the Screen (detail), 2024

A vertical black and white drawing on paper, featuring two central rectangular black shapes touching, with the darker and less textured of the two on top.

Screen Impressions VII, 2024

A vertical black and white drawing on paper, with three dark rectangular shapes dominating the composition, one small one on the top left, the larges in the center, and the smallest on the bottom right.

Screen Impressions XII, 2024

A dynamic vertical black and white drawing on paper, with a dark grey and black textural, rectangular shape in the center of a white and grey background, giving the sense of movement upwards.

Screen Impressions VII, 2024

A vertical black and white drawing on paper, with dark blacks and grey abstract shapes swirling around the top half of the composition and light grey and white marks in the bottom.

Screen Impressions IX, 2024

A vertical black and white drawing, compositionally dominated by a large black rectangle in the center left of the paper, surrounded by a white and grey wash background.

Screen Impressions XIII, 2024

Portrait by Deema Alghunaim, 2024.

Caroline Coolidge, born 1998, is an interdisciplinary artist and writer based in Edinburgh, Scotland. Coolidge's practice sits between painting, printmaking, sculpture, sound, and experimentation. She is interested in technology, the history of science and tools, the unraveling of language, and the construction of reality and meaning. Coolidge received an MFA with Distinction from the Ruskin School of Art at the University of Oxford in 2024 where her work primarily focused on the screen and the multiplicity of meanings associated with this word. Before beginning her master's degree, Coolidge worked as a teaching fellow in the Art, Film, and Visual Studies department at Harvard University, USA, where she completed her BA with Highest Honors in 2022. Coolidge has exhibited her work in solo and group shows and given public lectures at venues including the Dolphin Gallery at St John's College, University of Oxford, UK, the Spoke Gallery, Boston, USA, and the Carpenter Center for the Visual Arts at Harvard University, Cambridge, USA.

Contact: studio@carolinecoolidge.com

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