Applying a defiantly unsophisticated aesthetic, Wylie's large two-canvas paintings begin as drawings of frames recollected from films. Essentially they are remembered images, their 'accuracy' is a matter of truth to their impact on a once-viewing. Wylie's subjective response to the film makers she has chosen reveals her admiration for specific camera shots for example the back view of the heads of Vincent and Jules filling the screen in Pulp Fiction, or the dramatic isolation of two Mennonite houses in Carlos Reygadas' Silent Light.
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