Fred Carter (1911 - 1992, Clintwood, Virginia)
Currently on longterm loan to the American Visionary Art Museum in Baltimore, and is exhibited as part of their permanent collection. It was the most spectacular piece in AVAM's 2014-2015 exhibit, "Human, Soul and Machine:  The Coming Singularity". It was previously on exhibit at Emory and Henry College, Emory, Va.
Wood sculpture, c.1990

The "Last Battle", it's the final battle between good and evil. On the one side you see the agonized face of man as he's being destroyed and on the other side you see the face of... it speaks for itself. it could be a dehumanized person or robot with a touch of the military and the evil is represented by the snake, or serpent which is devouring them both, when evil gets so far along in any society its self-destructive, it feeds on itself. And it is clear that evil is winning.

Fred Carter, from 1985 interview.

Fred Carter (1911 - 1992, Clintwood, Virginia),
Wood sculpture

Not for Sale (private collection)

D. R. Mullins (Shady Valley, Tennessee),
Oil on paper
(12" x 16"), 2011
Framed

Fred Carter (1911 - 1992, Clintwood, Virginia),
Currently on exhibit at Emory and Henry College, Emory, Va.
Wood sculpture

Quo Vadis
Fred Carter (1911 - 1992, Clintwood, Virginia)
Currently on exhibit at Emory and Henry College, Emory, Va.
White walnut sculpture, c.1985

Not for Sale (private collection)

Quo Vadis was a big white walnut tree. Standing and had a big fork that stuck up. Came a March wind and blew it down. I saw a thing there on the ground just all stretched out. I just looked at that tree and I saw a crucified force there. And that very day I got my chain saw and I cut it big and I drug it up to the front of there and I went to work on it. And I saw that thing just while it was down. Where goest thou? He's a mutant and he's in great trouble. It seems like everything is crying out. What is evil and wasteful is man.
Fred Carter, from 1985 interview.

Fred Carter (1911 - 1992, Clintwood, Virginia),
Walnut sculpture
(55" x 20"), c.1980

I was back, at Easter (1980), in the mountains, and a fellow was sawing up firewood. Now this was part of a walnut log... cut down 40 or 50 years ago... There was a limb going up through here about 10 feet long... I said, “Don’t cut that up for wood... I see something in this that I want to make... I see a pregnant woman... So I brought it home and began to look at it... the wood began to talk to me and tell me what it is...
So I will probably call this Behold My Miracle. That’s what the mother is saying,... “Behold me in the greatest moment of the miracle. 
Fred Carter, from 1985 interview.

Dual Portrait (Fred and Vickie Carter)
Fred Carter (1911 - 1992, Clintwood, Virginia),
Wood sculpture
(18 1/2" x 9") 1985

Fred Carter (1911 - 1992, Clintwood, Virginia),
Wood sculpture
(20 1/2" x 9 1/2")c.1980's

Acrylic on canvas board
(24" x 30"), c.2006

Shawn’s prolific output of signature “Jones paintings” coincided with running the gallery and restaurant and an active party life. The chattering Jones figures can thus be seen as a reflection of Shawn’s frantic world. Jones also evokes the iconic Southern “haint” or ghost figure. In the view of D.R. Mullins, who worked with him at the Starving Artist, Shawn is haunted by many such demons.
- from notes by Len Davidson

Acrylic on paper
(22 1/2" x 30"), 2011

Oil on canvas
(24" x 18"), 2008

Acrylic on carved styrofoam
(20" x 25"), 2008