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Action Camera. Brush Monster. Gemini Lights. There are certainly a fair number of people who might be surprised that the project Carrey was putting up at the Phi Centre was an exhibition of drawings. Despite his legendary status as a comic actor, his recent dedication to a visual arts practice is less prevalent in the public eye- although one of the key aspects of this practice is a very public platform. And while not quite as sharp-witted or enthralling as his performances and standup or some of his paintings for that matter , these irreverent lampoons offer a viscerally comic humanity that seems so missing from current political cartoons and political discourse at large.
The figures are often caricatured, at times to grotesque levels, that in equal parts shine a foolish light on these individuals and gives an unpleasant weight to these mounting wrongdoings.
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Everything feels so full of immediacy: the presentation, the subject matter, the publishing through social media, and, above all else, the desperate call for unity to everyone looking on. A quick and clever comic, brimming with physical energy, a bolt of chaotic humour amidst a serious world. It is the weight of this cultural icon that Carrey has struggled with pulling himself out from under. There is very little that points towards the Jim Carrey fans know from his legendary comedic stylings. Some may be unable to bridge the cognitive dissonance between the art presented here and the perceived figure they adore.