Intimacy — Taylor Jolin

Image: Taylor Jolin, Shrink, aluminum drypoint on Awagami Chiri, 2016.


April 7th – 9th, 2016
Artist talk: April 7th, 2pm
Opening reception: April 7th, 8 pm


Intimacy is a collection of work developed in response to an ongoing preoccupation with the physiology of emotion, body language, how these variables can inform interpersonal matrixes, codify perception, and how morality and lived history can further effect one’s judgment. Physiology of emotion refers to expressions we make with our faces that correlate to several emotions, argued to be universal, while our body language typically shows how we’re coping with these emotions. For example, a person may have a clenched jaw or rigid posture, as a way of managing the stress and adrenaline they feel from an intense anger or fear.

My preoccupation was born of necessity, much like the proposed evolution of these gestures. I had been subconsciously noting patterns in behaviour and mapping faces before I had the language to describe what I was doing. What began as a survival tool moved beyond being a situational requisite, becoming a compulsion. Having a surface comprehension does not allow me to circumvent bias, but rather amplifies pre-existing wariness and dissociation, binging on intimacy and honesty, and criticizing its absence.

Drypoint prints based in staged photographs show common gestures replicated through direction or performance. Regulators, illustrators, emblems, and other aspects of

non-verbal punctuation are found in the act of observing. Tone and negative space are used in mutual and opposing extremes to create images that are intended to delineate an aloof blueprint-like approach, while retaining some covert tenderness. The structure of these works also relays the way in which focus and acuteness are assumed when noticing micro-expressions.

The accompanying mixed media pieces balance the equation, representing the other half of the dichotomy between the science and it’s real world application. These pieces are derived from inherited photographs, and the text that overlays them is written in a combination of subjective and clinically removed voices. With these pieces I’ve allowed myself an exemption from time, or rather from the brevity of time in which we tend to make our most powerful impressions of a situation. Comments are made over an extended period in an attempt to generate a variety of narratives that may have otherwise been lost in the moment.

Intimacy broadly describes the modality of all relationships, existing on sliding scales and in spectrums where closeness may be gauged. Mechanical and perfunctory partnerships can also be judged by their intimacy, or lack thereof. Intimate is also the term I’d use to characterize my relationship with the work. The amount of time devoted to finding and fabricating the images is only paralleled by the time I have spent alone with them, mimicking the expressions, asking questions about them and myself.