toronto

Carolyn White

S. L. Simpson Gallery

Carolyn White’s near mural-size photopaintings of men and women weeping adopt the conventions of traditional portraiture to examine the distinctions which separate photography and painting. The product of an adapted, computerized spray-printing process, commonly seen in billboard advertising, these ten works are experienced in the gallery as a barrage to the senses; they engulf the viewer in a sea of spent tears, swollen lips, and suspect emotion.

White has created a catchall of art chic. She references the scale, subject, and pointillist technique of Chuck Close, while adopting the earnestness associated with Thomas Ruff and the Düsseldorf school of photography. In the course of merging historically-based portrait painting with photography, she asserts her own place within this bastion of male bravado, creating works that are aggressive in scale and impact.

White clearly attempts to represent

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