L.L. Contemporary is pleased to present TRAMPOLINE TRAMPOLEEN TRAMPOLIN, a solo exhibition by Jeffrey Halstead bringing together seventeen works produced between 2019 and 2026. Spanning acrylic and UV print on aluminum, screenprint on paper, and large scale video projection, the exhibition examines what happens to images as they are repeatedly copied, cropped, tagged, printed, scanned, projected, and circulated.

The exhibition title begins with an object associated with recoil. A trampoline absorbs force and returns it, sending the body upward only for it to fall and rebound again. In TRAMPOLINE TRAMPOLEEN TRAMPOLIN, the word undergoes a similar movement, appearing correctly, phonetically, and incompletely. Its alternate spellings resemble the variations and errors embedded in online search terms and digital metadata.

The title moves between play and system: between the physical instability of bouncing and the repetitive structures through which images are found, categorized, and returned to us. Throughout the exhibition, familiar cartoon figures, architectural interiors, digital fragments, grids, and printing artifacts appear in states of collision and partial recognition. Across aluminum panels, works on artboard, and screenprints, bodies are stretched, layered, interrupted, or reduced to recognizable features: eyes, ears, bows, gloves, and silhouettes.

The two large architectural screenprints subject interior space to the same process, transforming rooms into skewed blocks suspended between model, photograph, scan, and memory. The exhibition’s largest panel, PLUM TUBE KITTEN Face ZOOM%% Official Reaction 4K HD BUBBLES, enlarges a familiar face until it begins to dissolve into shards, colour, and graphic noise. Together, the works suggest that cartoon figures and architectural spaces are not separate subjects, but image structures that can be compressed, circulated, damaged, and reconstructed.

The artwork titles extend this logic through capitalized words, misspellings, symbols, colour descriptions, emotional cues, and labels such as “ZOOM,” “SCREENprint,” “Official Reaction,” and “4K HD.” They resemble crowded search terms, generated captions, or metadata written to make an image visible within an oversaturated field. The materials operate similarly. Industrial UV printing is interrupted by acrylic pigment, while screenprinting translates digital distortion into physical layering, fading, pressure, and misregistration. Repetition never produces a perfect copy; each return carries evidence of displacement.

The exhibition is anchored by HELL IS OTHER PEOPLE (2025), a single channel video first presented as a large scale projection at Assembly Gallery in Toronto. Using spatial scanning, radiance fields, and projection mapping, the work reconstructs an architectural interior and returns it as an imperfect digital double. Surfaces shimmer, shadows lag, and the rendered room falls slightly out of alignment with its physical source. The work considers a world in which seeing, measuring, and being seen have become inseparable, and where “other people” increasingly take the form of networks, metrics, and screens.

Within TRAMPOLINE TRAMPOLEEN TRAMPOLIN, the video provides a spatial counterpart to the printed and painted works. What happens to the fractured cartoon bodies also happens to architecture: both are scanned, repeated, made legible, and returned in altered form. The works were selected to reveal the continuity between Halstead’s painting, printmaking, architectural, and time based practices. Moving from small portraits to large panels, screenprinted rooms, and projected space, the exhibition stages an image system that continually absorbs, distorts, and returns what enters it: another bounce, another spelling, another image that almost lands in the same place.

Jeffrey Halstead (b. Pickering, Ontario, 1984) is a multidisciplinary artist working between architecture, moving image, and the digital condition. Trained as both an architect and visual artist, he works with projection, 3D scanning, spatial mapping, painting, screenprinting, and UV printing to examine how technologies of vision shape memory, desire, and control.

Halstead has exhibited in Toronto, New York, Los Angeles, and Venice. He holds an MFA from Columbia University, is a three time MacDowell Fellow and an Art Omi resident, and previously worked closely with architect Frank Gehry. He lives and works between Toronto and New York.