April 4, 2001
For Immediate Release
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