Lyla Rye is a Toronto based artist, who began her studies in architecture. She works in installation, sculpture, video and photography to explore our experience of architectural space. Using angled forms, images, and the space itself, she creates encounters that require active viewing. Whether sculptural or video-based, the installations engage physically, optically, and conceptually, hailing us to our perception of time and space.
Rye received a BFA from York University and an MFA from the San Francisco Art Institute. For over 20 years her work has been exhibited in galleries across Canada and internationally including San Francisco, New York, Adelaide (Australia), Paris, and Berlin. She has exhibited at The Whitney Museum of American Art, The Power Plant, Southern Alberta Art Gallery, the Textile Museum of Canada and Olga Korper Gallery among others. Her work is included in collections such as The Art Gallery of Nova Scotia, York University, Cadillac Fairview Corporation, Tom Thomson Art Gallery and The Robert McLaughlin Gallery. She has founded and exhibited with a number of collectives including NetherMind, 5 things, hic and Persona Volare.
Artist website: https://www.lylarye.com/
Abide, TRUCK Contemporary Art, Calgary, April - May 18, 2019
Abide by Lyla Rye is a series of videos and video installations that explore the difficulty of being present and still in times of life changes. These installations overlay HD footage of the artist’s mother’s hospital room as she lay dying, with cellphone clips that her teenage daughter shoots. These two types of footage are overlaid using two projectors, creating a physical superimposition where brightness obliterates while darkness reveals. The two single channel works simulate a state where time seems to slow down, yet also drifts past without notice. One traces the baseboard of the house the artist’s father finished building just before he died, while the other witnesses the questionable uniformity of time in a hospital room.
Coming from a sculpture background but working with video, I am interested in the filmic form’s texture as it reveals the source of its imagery. In this series, the coarse grain and active camera-work of the cellphone video provide a foil to the still, smooth softness of the hospital footage. These sources are as much a part of the concept of the series as the imagery captured.