That ends that matter

About

Exploring the relationship between materiality and perception, Kelly creates videos, drawings, and photographs that pose questions about the limits of representation by examining complex associations between found photographs, videos, and sounds from documentaries, photojournalism, and online media streams. By working through these documents, Kelly seeks to illuminate the gap between physical matter and the subjective experience of it in the world.

In this new installation, That ends that matter,Kelly questions a documentary practice that takes place in UK courtrooms through a three-channel video, works on paper and sculpture. 

In early 2015, while in residence at Delfina Foundation, Kelly attended City of London Magistrates’ Court in Central London for eight weeks as a visitor, during which time he observed the daily events in one courtroom. The UK’s Criminal Justice Act forbids all recording and sketching in court, allowing illustrators to only take notes; Kelly instrumentalises this restricted form of recounting as both a structural and poetic device for his work. In a world of ubiquitous image production and ready access to information, these courts of law are peculiar places. They force representations to be made on the basis of abstract observation and memory, generating images that are constituted by the contradictions of being shared and personal.

In That ends that matter, the eight-minute, three-channel video is constructed of a re-enactment of actual events which the artist witnessed in court; photographic material from online image streams used to retell the sensed experience of those events; and a visual music animation where geometric shapes copied from these re-enactments are drawn directly onto the optical soundtrack of 16mm film to produce a score.

As Jean Paul Kelly explains: “The primary goal of my work is producing a fair account of my experience of the world. My inquiry is not related to redundant claims of indexical truth but rather to the repositioning of artifice, desire, and bias as the material source for realising the form of the work. That ends that matter is an attempt to document a certain form of subjective sense.”

Jean-Paul is a Canadian artist exploring the relationship between materiality and perception. His work has been exhibited at CGP London: Dilston Grove, Wexner Center for the Arts (Columbus), The Power Plant (Toronto), Vox Populi (Philadelphia), Scrap Metal Gallery (Toronto), Mercer Union (Toronto), Gallery TPW (Toronto).  He was a featured artist at the 2013 Robert Flaherty Film Seminar and a resident at Delfina Foundation (London, 2015) and the International Studio & Curatorial Program (New York, 2015-16). Kelly received the 2014 Kazuko Trust Award from the Kazuko Trust and the Film Society of Lincoln Center and the 2015 Images Festival Award. Recent screenings include: Courtisane Festival (Ghent), Vdrome, International Film Festival Rotterdam, New York Film Festival, Toronto International Film Festival, SBC Gallery (Montreal), and Nightingale Cinema (Chicago).