Kyla Mallet

The selected works for *Following A Line* dislocate the conventions of how information is gathered and presented by using standard didactic tools and methods, such as lectures, films, PowerPoint presentations, archival images and signage to convey subject matter that in some way challenges the instructive forms. The difficulty of representing knowledge, and the imperative need to demonstrate one’s understanding is common to all the works. Many of the artists in this exhibition work from an archive of images and texts, which they have compiled over years of research, but it isn’t essential to any of the artists to make this explicit or to lay out their research in an accessible form. There is an applied patina on most of the works that implies the passing of time, and the unearthing or preserving of history. The faux finishes are not necessarily used to mislead, but are meant to convey an instability and ambiguity that may be unsettling, leaving the viewer to look for something else, like the relation between images, or how objects and designs connect.



An image of the book “HOW TO See and Read the Aura.” The cover is blue with blocks of rainbow coloured patterns and large yellow text. Many tabs of yellow paper stick out from the sides of the book.

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Installation image of a projected image onto a wall in a dimly lit gallery. A black bench is placed in front. The image depicts a corner view of a bedroom’s dresser and en suite bathroom vanity. 

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A slide projector on a plinth pointed towards a white gallery wall. The projected image is small in scale compared to the wall. It depicts a black and white image of a large group of people standing.

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A large-scale iron sign mounted on a gallery wall. The sign reads A Low Variant From A Split Tongue in turquoise painted iron. The phrase hangs from an L shaped bracket that is mounted to the wall.

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A large geometric sculpture is installed in a gallery. To the right, on the wall, five framed artworks hang. Further right, two tarp-like fabrics are draped over structures to resemble human-like forms.

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Forty-four framed artworks mounted on a wall in eleven columns. Each column is a different colour gradient. Mounted on an adjacent wall is a framed photograph of a blue cover.

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Detail image of a geometric sculpture. Within the sculpture, a lit, hollowed out triangular space houses a relic-like object.

Kyla Mallet

Exhibitions