Carolyn Case’s work is unapologetically painterly, with velvety surfaces and thick, glossy layers of oil paint which seem to emerge almost three-dimensionally from her panels. Carolyn presented these new paintings and a series of richly-hued pastels on paper in her current exhibition, "Test Kitchen," which is on view at the gallery through May 8th.

"Test Kitchen" is the Baltimore artist’s first solo show with Reynolds; it serves not only a strong culmination of the work she created over the past year, but also as a humbling experience for Carolyn and her practice. We can visibly see how she “figures out” concepts and ideas in her recent pieces by building up and scraping off surfaces, interconnecting imagery from her home life and the outside world. In the interview below, we speak with Carolyn about how this deep connection—and sometimes, struggle—with her work and the balance of life play out in her compositions.

When did you first start painting? Did you always know you wanted to be an artist?

I originally wanted to be a graphic designer after being editor of my yearbook. However, as soon as I took drawing I in college, I knew I would be an artist. Unexposed to art classes in high school, I didn't take drawing or painting, but I always made my clothes, jewelry, and furniture. So, I think I was always compelled to be creating.

Have you always worked in the 2D field?

Yes, I have always painted or drawn, but recently I have been experimenting with ceramics and casting. I have also signed up to learn glass fusing this summer. I want to make my frames for the pastels, so that is a goal for the future.

What is a typical day for you in the studio?

I usually work about 6-7 hours three days a week, and then I like to work a couple of hours on Saturday and Sunday. I have arranged my teaching schedule to be stacked on Monday and Tuesday to get the most uninterrupted time in the studio. I am usually working on several things at once, but I'll often get hooked into one particular piece as the image starts to appear. I don't have pre-planned outcomes for my paintings, so there's a lot of trial and error and discovery in the process.

In addition to being a practicing artist, you're also a professor at Maryland Institute College of Art and a mother of two boys. How do you balance your studio time with everything else? Has this ebb and flow made its way into your paintings?

This question is the most challenging part of my practice! It has been tough to balance, especially during the pandemic with everyone in the house. I try to accept that I won't be able to go at the pace I would like, and my children growing up reminds me that this is a short period in my life. I don't think there is a way to balance it truly; it's more accepting that things will be out of balance. With MICA, working with the students and being around artists pushes me forward; overall, I have to be careful with how much I volunteer.