The Weather in the Room
Daniel Faria Gallery
June 20 - August 12, 2017

Working through figuration and its possibilities, Lyle has been conducting movement research alongside dance artist Shelby Wright. Participating in these physical exercises, Lyle attempts to understand the body’s range and qualities, its wholeness and its individual parts. From these movement based undertakings, Lyle approaches her paintings by pressing self-awareness and material (gesso, oil paint, pastel and pencil crayon) onto paper and canvas as an extension of what it feels like, and what it looks like, to have a physical human capacity— a skull that may be uneven, a spine that protrudes, shoulder blades that are pronounced, a sacrum that is deep, hips that are narrow, a strained IT band that rotates the right knee further outward than the left. In producing a practice where one can more closely meet their own joints, muscles and tendons, Lyle registers the body’s unrest, the adjustments and realignments needed to find composure, marking the passage from body to figure to image, through painting.

Sensibility is not only articulated through Lyle’s studies, but also in the way she has devised their presentation. She revisits earlier paintings, snipping away at particular moments within them that compel her. She cuts away heads and corporeal shapes, lifting and reassigning them to a foam material using sewing push pins and aluminum grommets— delicate fasteners that lightly fix the fragments into position, like a body that settles into a surface so that it may come closer to observing itself.


Text: Hanna Hur

The Mentor, 2017, oil paint and pencil crayon on paper, with memory foam and sewing pins, 31 x 23.5"



The Weather in the Room, 2017, oil paint on canvas and chalk pastel on plexiglass, 12 x 16”