April 4, 2001


For Immediate Release




JOY GARNETT:  Rocket Science



In the Project Room: John McLachlin, The Erotic Possibility of Melancholy


April 12th-May 19th, 2001



An opening reception for the artists will be held on

Thursday, April 12th, from 6-8 p.m.



Debs & Co. is pleased to present Rocket Science, an exhibition of new

paintings by Joy Garnett. Rocket Science is Ms. Garnett’s second solo

exhibition with Debs & Co. The gallery will publish a catalogue with essays

by Bruce Sterling and Manuel De Landa.


Rocket Science uses as its source material de-classified military documents

and scientific illustrations. Ms. Garnett’s paintings describe the aesthetics

of America’s gyroscopic lurch into hubris. They address the banal violence of

the Military Industrial Complex, and the unhappy ways this devouring matrix

operates within our former Republic’s history. Rocket Science identifies a

national predilection for a techno-sublime which consists of de-populated

landscapes and exploding mechanisms. The artist engages in a kind of mirror

cryptography in her painting: her paintings from military infrared “night-vision”

cameras, for example, re-represent phenomena which are invisible to the human

eye, yet whose “look” is common currency.


The reification of such images is at the core of Ms. Garnett’s project. Indeed,

Ms. Garnett’s paintings amplify the elegance of such events as the bombing of

Baghdad or the explosions of the Challenger and the Concorde. It is not for

nothing that the bombing of the Iraqi capital resembles a shower of falling stars

or Independence Day fireworks, and Ms. Garnett’s creepily beautiful paintings

sucker-punch the viewer into a consideration of the complicity of disenfranchised



Ms. Garnett has been included in group shows including The UFO Show at

University of Illinois Galleries in Normal, Illinois, Dystopia and Identity

in the Age of Global Communications at Tribes Gallery, New York City, N01se

at Wellcome Gallery, London, and Kettles Yard, Cambridge, Ground Control at

Lombard/Freid Fine Arts in New York City and Bioethics: Thresholds of

Corporal Completeness at Side Street Projects in Santa Monica, CA. She

studied painting at L’Ecole Nationale Superieur des Beaux Arts, Paris, and

received her MFA from the City College of New York in 1991. Ms. Garnett’s

work has been most recently reproduced in "Reinventing the Landscape," an

article by Hilarie M. Sheets for ARTnews (March, 2001).




In the Project Room:

John McLachlin, The Erotic Possibility of Melancholy.

Mr. McLachlin’s series of photographs depict the pastoral landscape of

certain gay cruising areas in Toronto. These serene photographs call to the

fore problems from Western cultural history, such as the notions of the

“natural” and the “artificial,” the situation of sexuality within public and private

life, and the role of land ownership and use in society. Referencing artists

as seemingly divergent as Poussin and Tom of Finland, the photographs

are at once meditations on Arcadia, seventies-style gay porn shoots stripped

of actors, and documentation of as-yet “unimproved” marginal land.


Mr. McLachlin has exhibited recently in Substitute City at The Power Plant,

in Instant Coffee, Urban Disco Trailer Project & Everyone, at the Art Gallery

of Ontario, Spring Break and Town & Country at Zsa Zsa, Real Man at Paul

Petro Contemporary Art, and Reviews 1-4 at Mercer Union, all in Toronto. He

has had three solo exhibitions, also in Toronto. Mr. Mclachlin is a graduate

of the Ontario College of Art. The Erotic Possibility of Melancholy is his

first exhibition in New York City.







Debs & Co.    

525 West 26th Street, Second Floor

New York, NY 10001

(212) 643-2070