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This collection has been privately commissioned , or created for specific group and solo exhibitions. The selection  showcases Carrie’s fascination with the state and popular culture and her characteristic, painstaking technique.














Mad in England Jubilee Pastel  – 2012

Ceramic on mini bonnet

Inspired by the invasion of all things kitsch into popular culture, this design uses vintage, digital and hand screen-printed ceramic transfers to expose the irony of this idealised portrayal of an England that never was.














Mad in Hackney –  2011

Private commission

Mixed media on mini bonnet

The work incorporates vintage, digital and screen printed ceramic transfers. Images represent the owner’s personal preferences, given an anarchic twist by the artist.














Mad in England the Jubilee2011

Ceramic on ford bonnet

Made using vintage, digital and hand screen printed ceramic transfers, this piece pays homage in part to Jamie Reid’s 1977 iconic Jubilee image. Reichardt combines a red, white and blue palette with authentic Metropolitan police badges. Images of the 2012 popular insurrections are superimposed onto this motif, subtly subverting its patriotism and reflecting a rather more radical view of the British publics’ relationship with the state and Royal Family.











Riot Here Riot Now – 2010

Showcased in solo exhibition at Ink_D Gallery

Ceramic on ford bonnet

Made to celebrate the wedding of William and Kate this, piece became strangely prophetic as a few months later rioting broke out across London. The design uses vintage, digital and hand screen-printed ceramic transfers in Reichardt’s signature style.













Bibles Bombs and Big Macs – 2008

Part of the Mutate Britain: Behind the Shutters exhibition

Mixed media on aeroplane panel

Mutate Britain is an independent Arts collective that curates striking exhibitions in off-beat locations. Despite this, their events are renowned amongst the contemporary arts community and in 2008 the Behind the Shutters exhibition received 30,000 visitors over just nineteen day. Reichardt was given an aeroplane panel to decorate for the exhibition. The finished design provides tongue-in-cheek comment on the contradictory nature of dominant cultural preoccupations in the USA.