Professor Lyndon Barrois Jr.‘s two-person exhibition with Kahlil Robert Irving “Dreamsickle” was reviewed in Art Agenda and Art in America. The exhibition was on view at 47 Canal in New York City September 10 through October 16.
For Art Agenda, Shiv Kotecha writes, in part:
“The word ‘dreamsickle,’ like the word ‘chaos,’ conjures numerous associations. Referring to the defunct brand of ice pop, it might invoke an orange gleam, a vanilla coat, the state of being frozen; more broadly, a “dreamsickle” suggests a tool used to harvest imaginative content, such as montage or color. In their show at New York’s 47 Canal, Lyndon Barrois Jr. and Kahlil Robert Irving probe at the chromatic (and chronomatic) channels by which cultural memory is sutured to political violence. Using collage, repurposed film stills, and frequent allusion to the coded lexicons with which we read color—for example, the artists specify that the exhibition title is formatted using the “pure Orange” code HEX #ff7c00—Barrois Jr. and Irving’s latest collaborative exhibition teases out the elastic, yet always discontinuous, circuits by which a person may inhabit the limits within which they are materially defined.”
For Art in America, Simon Wu writes, in part:
“A study of time via collage and sculpture, ‘Dreamsickle’ is Kahlil Robert Irving and Lyndon Barrois Jr.’s first joint exhibition since 2017. The artists attempt to convey how the friction and overlap between, say, the timelines of American history books and the imagined time of cinema might prove generative in some regard—whether for social equity or personal dreams.”