Breach of Skin, is a solo exhibition investigating the myriad ways sound and image exist as reminders and remainders of each other. In this new body of work Carel continues to develop a diverse territory of exploration that is defined by drawing connections between the demise of modernism, and its utopian notions, with environmental disintegration.

Harking back to avant garde practices of translating sound into image and vice versa, fragile amalgams speak to species on the brink of extinction.  Stemming from her interest in early display methods of natural history museums, the work is also informed by the burgening field-recording technologies of the time and how they influenced such displays. Carel layers archival audio recordings of endangered, and extinct species with abstract sculptures thereby forming an imagined habitat of a species no longer present. An elegiac meandering between sculpture, sound, and works on paper, the series meditates on wild animals that have lost not only all relation to their naturalistic origin but have completely disappeared from a taxonomical system.  Carel also includes natural and human pieces of detritus: molting feathers, pieces of thread, images of fabric swatches, shed reptile skins, and discarded pennies to redirect the viewers gaze towards the residual in urban/natural environments—to that which has been overlooked, is steadily disappearing, and that which has been left behind.