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Izdavac Udruga Artikul

Paulette Phillips and Kelly Mark at Diaz Contemporary, Toronto (p)
press / e-artnow,Tuesday 14 February 2012



Paulette Phillips: The Directed Lie and Kelly Mark: 33.333333
Diaz Contemporary

Contact
colleen@diazcontemporary.ca
Colleen O'Reilly
Phone: +14163612972

Address
http://www.diazcontemporary.ca/
Diaz Contemporary
100 Niagara Street
Toronto, ON M5V 1C5
Canada

Info
Paulette Phillips: The Directed Lie
Kelly Mark: 33.333333
16 February to 17 March 2012
Opening Thursday 16 February from 6 to 8




Paulette Phillips
The Directed Lie
16 February - 17 March
Opening Thursday, 16 February 6-8

In The Directed Lie, Paulette Phillips uses mechanical drawings, video and sculpture to explore the difference between what we see and what we know. In 2009, Phillips trained as a lie detector in Baltimore, Maryland, where she developed interrogation and lie testing skills. Focused on creating an archive of the art world she inhabits, Phillips conducted 238 interviews in Toronto, Paris, London, Dublin, Montreal, Vancouver, Banff, Venice and New Smyrna Beach, Florida.

In each, the subject is asked to answer 33 questions while attached to a polygraph. The instrument produces mechanical ink drawings that indicate 'a knowledge' that resides in the body through the measurement of blood pressure, heart rate, and electricity. With the ink drawings, tiny colored lines of data, Phillips can interpret irregularities in these lines as 'responses' – heightened subconscious activity in the subject's body. We get to watch this process, both the activity of the machine and the concentrated, vulnerable face and body of the interviewee, accompanied by the artist's off camera voice.



Lie detection is a complex and nuanced practice, and in this case what is achieved is not exactly a discovery of truth. Without the high stakes involved in the accusation of a crime, the responses measured by the machine are not necessarily distillable into applicable information. The result of the ritual is more of a portrait – a physical expression, through technology, of invisible and unknowable thought and feeling. Moreover, the interview process is one of complicity. The test is not designed so that we can discover hidden truths about the subjects, but rather so that through their cooperation, we can watch them privately lie. 



Through this process, we almost conduct more of a test of the machine's abilities to tell the truth, than of the subjects'. By bringing the controversial science of polygraphy into the realm of art, Phillips accesses a conversation about our complicated ideas of truth and judgment, about authority and language, and about the performance of the self.

Paulette

Phillips has established an international reputation for her tense, humorous and uncanny explorations of the phenomena of conflicting energies. Working in various media including video, sculpture, performance and photography, she is interested in the contradictions that play out in our construction of stability. Her work questions the implied strength of structures like 'human nature', knowledge and architecture and how over time these structures are contested, disappear or get reclaimed by nature.


Phillips' work has been featured in solo exhibitions at Galerie Chomette in Paris, Danielle Arnaud Contemporary Art in London, The Oakville Galleries, Cambridge Galleries, The National College of Art and Design in Dublin, and The Ottawa Art Gallery. Recent group exhibitions include: the Centre d'art contemporain de Basse- Normandie, the Musée d'art contemporain de Montréal, the Tate Modern, and Galerie Antje Wachs in Berlin. Phillips teaches film and installation at The Ontario College of Art and Design.

Kelly Mark
33.333333

16 February - 17 March
Opening Thursday, 16 February 6-8

In 33.333333, Diaz Contemporary presents Kelly Mark's most recent Letraset drawing. The ten-panel piece spans 33.333333 feet by 32 inches – the entire length of the back gallery. Mark's Letraset drawings are an ongoing practice, in which the artist meticulously creates intricate, tangled forms using letters, numbers, symbols, and lines from sheets of Letraset, 'instant lettering'.

This new drawing's emphasis is on scale, specifically length, rather than Mark's concentrically focused earlier work. Within the borders of the drawing's crawling form, symbols are densely and exactly placed so that one is reminded of an endless, nebulous machine, containing pulls and cogs adorned with tiny fleur-de-lis and dot patterns. While there are restraints within this almost obsessive process, (Mark only allows herself what is on the sheet of Letraset), there are no rules. She relies on instinct to create a playful, pleasurable aesthetic result. Although Mark's Letraset drawings are old-fashioned in method, their energy and conceptual playfulness make them timeless. By employing this obsolete technology, Mark engages in an expanded drawing practice that characteristically brings a reflection upon everyday human rituals into contact with ideas about our mediated world, and the significance of mark-making.

Kelly Mark has always had an intense preoccupation with the differing shades of pathos and humour found in everyday life. Hidden in the repetitive mundane tasks, routines and rituals of contemporary culture, she finds startling moments of poetic individuation. This 'imprint of the individual,' although subtle and frequently paradoxical, is something she repeatedly returns to. Through her 'will to order' and her (self-described) frequently inane sense of humour, her objective is the investigation, documentation and validation of these singular 'marked' and 'unmarked' moments of our lives.

Mark received her BFA in 1994 at the Nova Scotia College of Art & Design. She has exhibited widely across Canada and internationally at venues including the Art Gallery of Ontario (Toronto), The Power Plant (Toronto), Contemporary Art Gallery (Vancouver), Musée d'Art Contemporain (Montreal), Henry Art Gallery (Seattle), Bass Museum (Miami), Ikon Gallery (UK), Lisson Gallery (UK), and the Physics Room (NZ). Mark represented Canada at the Liverpool Biennale in 2006 and the Sydney Biennale in 1998. She is a recipient of numerous Canada Council, Ontario Arts Council and Toronto Arts Council grants, as well as the KM Hunter Artist Award (2002), and Chalmers Art Fellowship (2002).
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