American painter and graffiti artist Myles Carter has cultivated a style throughout the years that is firmly entrenched in conceptual frameworks that represent aesthetics, ideas, and societal institutions.
Myles Carter was raised in an environment that valued creativity on Manhattan’s Upper West Side. His mother was a longtime trustee of the Harlem Studio Museum, and his father, Ron, was a well-known jazz bassist.
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Miles was accepted into JHS 104 on East 21st Street after attending Bank Street School, which required submitting a portfolio and passing an entrance exam. The High School of Music and Art comes next. He added that he painted still lifes and nudists for the Art Students League.
He refers to this base as his artistic roots. I take structured art classes in addition to writing graffiti. In the early 1970s, he first encountered graffiti on subway cars.
In the late 1970s and early 1980s, under the nickname Metro, he was connected with groups like RTW, or Rolling Thunder Writers, who were renowned for experimenting with various paint brands to produce distinctive effects.
The artist himself has said that “there is a lot of math in my art,” which is why his label Metro has changed over time to MEO – Mathematical Equation Of.
In his early 20s, Miles moved to Paris in the late 1980s, which enabled him to extend his artistic perspective, increase his level of awareness, and switch from spray cans to paintbrushes.
Due to Miles Carter’s seemingly impulsive and aggressive approach, which places more emphasis on the actual brushstrokes and use of the canvas than it does on figures or imagery, his paintings have dynamic, high energy, and dramatic effect.
His body of work includes landmark pieces like the Mail Bag series he produced while living in France in the 1980s as well as more contemporary pieces that incorporate calligraphic movements with fluid compositional structure.
As a result of the social interventions of graffiti that swept over New York City’s streets and subways in a magnificent flowering in the 1970s and 1980s, Carter’s work is full of visual weight and represents the numerous formal and inherited perceptions that emerged from those interventions.
Myles Carter has taken part in a lot of exhibitions both domestically and internationally. His work is included in a number of collections worldwide.
