Now your cerebrum: curled against its shell. Let’s wake it. Hello!-oh — oh… echo chamber. As it stirs, ready your mouth into another O shaped sound. This time in Goodbye. Watch it stretch now. Oblonging, thin to thin, spider’s web. Finally snapping, whipping your skull on its way out.
Now black abyss: fast fall, slow float. Down, down, beneath the earth’s soil, weaving past the roots. See the locust larvae, in year 16. Quivering anticipation. Even deeper now. Through the bedrock, into the crystal cave. See the ring of fire. Jump into its pit. Falling again, down and down. Until you reach blue skies. Then, up and up. You’re soaring. See the thick evergreens below and look for a clearing. Feet touch down to a soft landing, a small cloud of dust. Settle. Look around you. Call forth the Gatekeeper. Here he comes from around the bend. Friendly face, very large body. Your eyelids flicker. The weird visions flinch and begin to fade. No not yet, come back. Deep breaths. In for six, hold for two, out for six. In for six, hold for two, out for six…
He’s here, the Gatekeeper: did you bring an offering. You did? Good. It can be anything. Look down in your hand, what are you holding. Weird Vision conjures a flower. (Plucked from a crack in the concrete when you went for a walk in the middle of your workday. You saw it from a distance, growing up through the chainlink fence. The neighbor’s pitbull incessantly barking. Goddamit dog, let me cry in peace. I’ll kill this flower so I can hold its beauty. Later on you pressed it. Days later, J found it and gave it to her baby.) This journeyed flower, purple and pure. A drop of milk falls from its stem and wets your wrist. Offer it to him, request entry. He accepts and bids you passage.
And now, The Veil:
— Hanna Hur, 2017
— Daniel Faria Gallery is pleased to present The weather in the room, an exhibition of new work by Toronto-based artist Katie Lyle.
Drawing on her recent showing at The Loon, Lyle continues to engage a rehearsal-like process; her figurative subjects are reworked and repeated, scrutinized by way of erasing, overdrawing, overlaying and cutting away. Like a passing fog or mist, Lyle’s revisionist actions both clear and cloud bodies from the depths of her canvases and her muscle memory, forming compositions that fluctuate between clarity and ambiguity.
Working through figuration and its possibilities, Lyle has been conducting movement research alongside dance artist Shelby Wright. Participating in these physical exercises, Lyle attempts to understand the body’s range and qualities, its wholeness and its individual parts. From these movement based undertakings, Lyle approaches her paintings by pressing self-awareness and material (gesso, oil paint, pastel and pencil crayon) onto paper and canvas as an extension of what it feels like, and what it looks like, to have a physical human capacity— a skull that may be uneven, a spine that protrudes, shoulder blades that are pronounced, a sacrum that is deep, hips that are narrow, a strained IT band that rotates the right knee further outward than the left. In producing a practice where one can more closely meet their own joints, muscles and tendons, Lyle registers the body’s unrest, the adjustments and realignments needed to find composure, marking the passage from body to figure to image, through painting.
Sensibility is not only articulated through Lyle’s studies, but also in the way she has devised their presentation. She revisits earlier paintings, snipping away at particular moments within them that compel her. She cuts away heads and corporeal shapes, lifting and reassigning them to a foam material using sewing push pins and aluminum grommets— delicate fasteners that lightly fix the fragments into position, like a body that settles into a surface so that it may come closer to observing itself.
Katie Lyle works in painting, drawing and performance. Selected projects include: aceartinc. with Shelby Wright, Winnipeg; The Loon, Toronto (both 2017); G Gallery with Bridget Moser, Toronto; Evans Contemporary, Peterborough; Forest City Gallery with Shelby Wright, London ON (all 2016); Erin Stump Projects, Toronto; Model Project Space, Vancouver; Garden Gallery with Shelby Wright, Toronto; and The Nanaimo Art Gallery (all 2015). Lyle received her MFA from the University of Victoria (2009) and her BFA from Concordia University (2005). Lyle’s works can be found in the collection of RBC and numerous private collections. Lyle lives and works in Toronto.
Lyle is represented by Erin Stump Projects, Toronto. Daniel Faria Gallery would like to thank Erin Stump for her support of this project.
Lyle gratefully acknowledges the support of the Toronto Arts Council and the Ontario Arts Council.
For more information contact Dory Smith at:
or 416 538 1880
Daniel Faria Gallery
188 St Helens Avenue
Toronto, ON M6H 4A1
416 538 1880
Hours: Tuesday to Friday 11:00 am to 6:00 pm, Saturday 10:00 am to 6:00 pm