Caroline Amond is an emerging visual artist based in New York. She received her BA in Studio Art from Stony Brook University in 2019 and her MFA in Art from CUNY Brooklyn College in 2024. Amond has exhibited throughout New York, including at Powerhouse Arts, Paul W. Zuccaire Gallery, and Spring/Break NYC, where she presented her solo exhibition Hiding in Plain Sight: Caroline Amond is Hypervisible, curated by Eric Shiner. Her work was featured in Artnet’s “Best Work of 2024: 11 Standouts We Saw Globally” and Whitehot Magazine. She has also received multiple awards for her artistic contributions, including the Morris Dorsky and Rose Goldstein Memorial Scholarship.

Amond’s paintings investigate how images accumulate meaning through repetition, association, and context. Drawing from art history, cartoons, advertising, internet culture, and other forms of visual communication, she builds dense, symbolic compositions that move between the familiar and the ambiguous. Her paintings bring disparate visual languages into collision, using humor, allegory, and invented systems of symbols to examine how images shape perception and take on new meanings as they move across different contexts.

Statement

My paintings examine how images accumulate, circulate, and change meaning within contemporary visual culture. Drawing from art history, cartoons, advertising, internet imagery, and symbolic language, I build dense visual environments where disparate references coexist and collide. I am interested in the history of images and the ways visual languages are inherited, repeated, fragmented, and recontextualized over time.

My paintings often feature simplified, schematic cartoon figures and symbols that operate somewhere between recognizable imagery and abstraction. I use flattened space, visual repetition, and unexpected juxtapositions to create environments that feel both familiar and unstable. Rather than illustrating a fixed narrative, the works allow meaning to shift depending on the relationships between their various references.

The paintings reflect the saturated and fragmented experience of contemporary image culture, where art-historical references, advertisements, cartoons, memes, and everyday visual information exist within the same field. I use painting to slow down this constant circulation of images while simultaneously reproducing its density and disorientation. The resulting works consider how images acquire meaning, how visual languages persist and transform, and what happens when familiar symbols are removed from their original contexts and placed into new ones.