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<\/a><\/figure>\n<\/div>\n\n\nGarrett Lockhart, Deceit, 2024, inkjet transfer on linen over board, 5 x 7 inches<\/p>\n\n\n\n
Although the artist\u2019s sources to his subjects span the decades from the 80s into the near present, the citing of Andy Warhol\u2019s \u201cInterview\u201d magazine in particular is significant. Lockhart\u2019s \u201cWrinkle\u201d can be read as a grainy homage to Warhol\u2019s Factory, which at its giddy peak was an avantgarde laboratory, a chaotic jumble of the rich and famous with artists and musicians \u2013 the celebrities of the day. In Warhol\u2019s transfer, his silkscreen subjects migrated from canvas to celluloid, turning them into \u201csuperstars.\u201d<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nGarrett Lockhart, Fire Escape, 2023, inkjet transfer on cotton over board, 5 x 7 inches<\/p>\n\n\n\n
Lockhart’s catalogue of exhibition images, on the other hand, can be read as an art director story board replete with character closeups, sets and locations. His \u201cProfile (Right)\u201d and \u201cProfile (Left)\u201d are actor test shots, much as Warhol\u2019s screen tests became standard fare for his film works. It\u2019s the viewer, however, in the \u201cWrinkle\u201d exhibition that splices and edits their own narrative from the sparsely-placed \u201cframes.” That the works mime the pocketbook format rather than a film cell, cues us for a story rooted in pulp fiction. To the gallery consumer they are an affordable “pr\u00eat-\u00e0-porter.”<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nGarrett Lockhart, Profile (Right), 2023, inkjet transfer on linen over board 5 x 7 inches<\/p>\n\n\n\n
In a wider sense, the aesthetic impulse of the artist is the poetic distillation the material presence of selected objects. Lockhart has mounted an impressive bouquet of solo and group exhibitions worldwide in just the past few years, that include, not only Toronto, but Vancouver, Chicago, Brooklyn, The Netherlands, and London, England. A single work in his 2021 \u201cSleeper Cell\u201d show in Montr\u00e9al contained blank keys, aluminum house numbers, deadstock glass beads from Queen Street, found plastic jewel, hardware store tag, and wire, salvaged wood, rope, twine, found steel pulley and a sailboat cleat. Each fragment of a Lockhart work is a trace clue to its origin. In a group exhibition, meaning and import sifts from their permutation with participating artists.<\/p>\n\n\n