Artist Portfolio

Carin Kulb Dangot

Artist Biography

Carin Kulb Dangot has been an exhibiting artist for fifteen years. Her work has been exhibited in numerous venues including Cassidy Turley, Narthex, Deanna Evans Project, Art Lines, Augusta Savage and Phyllis Harriman Mason galleries in the United States and Casa Galeria and Area Artes galleries in Brazil. Her life-size hand-painted rhino sculpture was featured in MUBE (the Brazilian Museum of Sculpture) and travelled to ten cities, including Jundiaí, Cabo de Santo Agostinho, and João Pessoa. 

Dangot was selected to participate in the 2020 NYFA Immigrant Artist Mentoring Program. She was awarded both the Leonard Rosenfeld Merit Scholarship and Lloyd Sherwood Grant for outstanding work in non-objective art, from the Art Students League in 2012.

Dangot received her undergraduate degree in Engineering from the Maua School of Engineering in Sao Paulo, Brazil. She studied art at the Panamericana School of Arts & Design, the Art Students League and the School of Visual Arts in New York.

Carin was born and raised in Sao Paulo, Brazil. She currently lives in New York City.


My current artistic interest is in the transformation and repurposing of paint to explore waste and preciousness.

My “All Paint” series began with my not wanting to throw away leftover paint at the end of a day in the studio. Without knowing what I would do with these scraps, I decided to smear each day’s remaining paint on a canvas rag, letting the layers accumulate day after day, week after week. My focus at the time was the painting I was making - not these leftovers. After several weeks, the volume amassed by these scraps had a tactile quality I wanted to explore. I decided to peel the paint off the canvas rag and instinctively began to squeeze, fold, twist and compress the layers. At the end of this process I discovered I had made a brand new, distinct entity, out of the leftovers - a sculpture made entirely out of paint.  

After much experimentation, my process in creating a growing family of these anthropomorphic beings, is to spread paint on a flat surface, allowing the thick pools to set and after several days to fold and mold the layers into sculptural bundles.

As time has gone on, each being has taken on it’s own identity in relation to the group. Some express memories: “Vo”, meaning “grandfather” in portuguese, is my grandfather going to temple in Sao Paulo when I was a child, with his “Tallis” wrapped around his head. And “Square” is the memory of melted candy in my pocket, chewed up bubble gum, a drawer of socks.

Other pieces are about my experience of motherhood, the need to protect what is fragile, and the primal, bodily experience of womanhood. Such as “Matryoshka” which conjure maternity, a Russian doll wrapped in a layer of bright protective red. “Wealth” is both a bowl holding something precious as well as an offering in gratitude.

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