The Faces and Emotions We Miss

The face supplies more information about a person than words. Micro-expressions, a slight pull of the lip, a semblance of a smile, the squint of one’s eyes, illustrating slight discomfort or irritation, are expressed without the use of speech. With the pandemic, it is now uncommon to view someone’s entire face in public and the new normal is to always wear a mask. People have become even more aware of the importance of the face. 

    Open from January 23^rd to March 27^th, the exhibition, Facing Time, at the Surrey Art Gallery comments on the new social structure of masks. Curated by Jordan Strom the exhibition incorporates pieces from numerous artists, all commenting on the significance. Many artists illustrated their confinement with the pandemic and consequently covering one’s face, by creating portraits. The artists either use pastels and soft tones to convey feelings of kindness, peace and warmth. Whereas, other artists utilize charcoal and ink to create increasingly darker images to highlight the harsher emotions that are being felt during this time. Walking through this exhibition, I can say that the curator’s goal of showcasing the various emotions connected with the face is successfully portrayed.

One of the first pieces I saw, when I entered the gallery was a large, digital print on watercolour paper, of a baby’s face. It is placed in the far left corner of the room, the piece, Babyface, by Elizabeth MacKenzie consists of charcoal and ink to create a startling and uncomfortable image. Even though babies are usually associated with warmth and joy, this piece juxtaposes those emotions. The image is vague, making it difficult to sort out if the baby is smiling or upset. Due to the small puddles of charcoal and ink used to create the piece the overall image has more of a demonic air to it. Certain portions of the print having large dark circles whereas others barely have a drop of ink. The emotions I get from the piece is of unease. MacKenzie’s work further emphasizes the feeling of unease by contrasting with the surrounding pieces, which portray more elated emotions. When I turn to leave the gallery, I also noticed that another Babyface print was placed above the doors. It was even more unsuspecting therefore making it even more unsettling since I thought MacKenzie had only created one Babyface. The print is higher up near the ceiling, having the image of the baby look down at everyone looking at the exhibition.

Having MacKenzie’s work placed in these locations is a well thought out decision. When I enter the gallery the first piece I see is the first Babyface and the last piece I also view is the second Babyface places above the doors. By the time I’ve looked at the other pieces in the exhibition the feeling of disquietness I first had when I entered and saw MacKenzie’s work is almost gone, only to come back even more forceful with the placement of MacKenzie’s second work. The way I went through these emotions reminds me of how I live now in the pandemic. With going through bouts of anxiousness to calm down and then having it suddenly come back. This is all illustrated through MacKenzie’s work and the placement of it within the exhibition.

Another piece that raises awareness of the feelings of unrest is Jaswant Guzder’s work. Her paintings Prayer Spaces and Portrait 1 (2016) and Prayer Spaces and Portrait 2 (2016) are made from ink, acrylic watercolour, crayon, and sari cloth on a natural linen canvas. Both paintings are of a figure looking out at the viewer, with a stoic impression. The paintings also consist of soft yellows and oranges that would normally bring a feeling of joy however, due to how Guzder has portrayed the faces the feeling of warmth is overshadowed by the concern I feel towards the expressions of the figures. Guzder has worked as a child psychiatrist and her work often portrays these issues. Along with the connection made to the South Asian community by Guzder’s use of traditional Indian clothing on the paintings, I worry for the health and mental well-being of the people who these images portray as well as the South Asian community. 

Although there are multiple pieces that showcase the feelings of unrest that are illustrated through the face, few works also highlight the brighter emotions. The photo series Selection of the Sudanese Series by Gabor Gastztonyi is one of the few works which focus on the happier emotions one garners from the face. Gastztonyi’s series of black and white photo prints depict a few African families and children.  The prints consist of six solo shots and two group shots. The subjects in the photos may not be looking at the audience however, there is a sense of joy and freedom seen on their face. The children are happy and the adults look content. This work is also placed on the wall beside MacKenzie’s Babyface, juxtaposing the darker feelings coming from her work Babyface with one’s happiness. 

The group picture which contains five boys specifically brings me a lighter feeling. The boy in the forefront of the image is looking off-camera to the right and has the most mischievous smirk on his face. He is surrounded by four other boys his age. One is smiling at the camera, two are stoically staring at the camera, and one is trying to hold in a laugh. The image may consist of different emotions however, the overall emotion from this print is light-headedness. These are just kids who enjoyed having their picture taken, they do not have to worry about what is going on outside that. 

Another photo within this series is a solo shot of a female in traditional clothing looking at the camera. Looking at the woman’s face it appears that she has gone through a few hardships however,  there is still a look of joy and optimism for what is coming in the future. She is sitting there staring at the audience with a slight smile on her face as if knowing she is okay with where she is. Just looking at this woman I gain a sense of peace. The photo series work together to convey a sense of joy, optimism which is a pleasant contrast to the harsher emotions viewed within the exhibition. 

The emotions of fear, longing, happiness, and contentment are all portrayed through these works and numerous others within this exhibition. The curator, Jordan Strom, successfully highlights the significance of the face and the various emotions that are showcased in the exhibition, Facing Time. 

Bibliography

“Jaswant Guzder.” Visual Arts Centre, 10 Mar. 2020, www.visualartscentre.ca/school-of-art/                                                                          photo-gallery/teachers/jaswant-guzder/.