There is a deceptive sense of calm and stasis in Carm Little Turtle's photographs, where impossible moments are brought to life, brought to reality from the realm of the imagination. In many of her photographs time is stopped and laws of physics are disregarded. The world becomes light and image, and the act of seeing and perceiving unlooses the viewer from the everyday, from the expected. In Daydreamer ( 1984), for example, a figure is suspended in space halfway between the frame and what is beyond. Set in the characteristic Southwestern landscape of much of her work, this piece invites the viewer to consider the interplay between dream and reality. She invests the ordinary and mundane with deeper resonances of meaning. Parasol (1983) is a delicately understated photograph that presents a suggestive world within a world. Recognition of the dual images is an unsettling, eerie experience.
This duality is often central to Little Turtle's work. It is seen in terms of the images themselves, or in what the images represent, or in the tension between motion and stillness, between action and repose. This duality also functions on the level of male and female relationships. She writes that "the rugged terrain of northern Arizona or the mountains and clouds of northern New Mexico may serve as the