Carol Eisenberg (American. b. 1942 – ) makes photographs that read as paintings. These lushly colored images of trees, flowers and birds are digitally “constructed’’ by means of various blending, erasing and transforming techniques. They are further altered by modifications to hue and saturation … and by the insertion of appropriated imagery, gestural strokes or other marks.
The images are slyly subversive in that although they depict nature, which connotes ‘’beauty,’’ they are replete with urban components in the form of paint, plaster, dirt, words, graffiti or other elements transposed from city walls and sidewalks. The scarred surfaces speak to Carol’s lifelong struggle against feelings of helplessness in the face of injustice, her drive to rebel against conformity, her need to rescue what is damaged and her attraction to the sensuality in decay.
The work is richly layered and reflects Carol’s strong affinity for beauty and passionate involvement with issues of identity and feminism. It celebrates the poetry in the everyday world and addresses the question of what is or should be considered ‘’art’’ – and therefore worthy of attention.
Carol Eisenberg has been a practicing photographer since the 1990s. Her work is in both public and private collections, including Bellevue and Jacobi Hospitals in New York City, where it is on permanent display.In 2013, after closing her New York law practice and moving to Maine, she returned to school for three years to obtain an MFA in Media Studies and Photography from Maine Media Workshops + College. In August/ Sept. 2020 The Maine Jewish Museum in Portland will host a solo exhibition of Carol’s work; and her work is featured in the August 2020 issue of Decor Maine.