"Carr's big, insistent, richly-painted canvases tell picture-stories of relationships between his models... Carr's models are contemporary to the point of hipness. In Summer & Chuck, Tantric Image, Chuck's head is shaved, his arms bevined in tatoos, his lower half clad in striped leggings. Summer stands, sway hipped like a Hindu deity, in black bikini underpants and a studded leather collar, nipple rings punctuating the tips of her giant low-slung breasts...

'People see that and say, 'what is this-a sexual cult?' says Carr. 'Tantric images state philosophical systems through concrete realities. They aren't supposed to be particularly nice. The last thing I want to do is fake Hindu art. But I do want people to stand in front of Summer and Chuck and say, 'what the heck is that?'

- taken from the article How Unhip Can You Get? Two Painters garner raves the old-fashioned way, by Daisy Fried in Welcomat; The Philadelphia Weekly: News, Arts & Opinion, February, 1995.

"The artist-model interactions involves more than recording what one sees. In each case, the artist's attitude toward his subjects and the circumstances of their interaction influences the pictorial result... Carr's paintings can be read as either figure studies, allegories or portraits. His subjects, some of whom are couples, seem detached not only from their environment but from him and each other... All share a steely psychological edge that keeps the viewer off balance."

taken from a review by Edward Sozanski in The Philadelphia Inquirer, February, 1995.