seek verdana;”>In Matthew Evans’s Sleights of Hand video installation, tricks are played out in motion so slow that the viewer all but forgets to look for the method of trickery. And, were they to remember to keep looking, the method would still not reveal itself. Sleight of hand tricks have been used by sideshow hucksters, carnie rats, and drunk partygoers for something
close to forever to baffle, sucker, and impress. Evans’s tricks (and not even his tricks, but his recording of tricks for the trickery of the viewer) do none of these things. They flow endlessly in the wrong time zone, the gestures more balletic than the trick astonishing, the warped pace strangely beautiful, the flourish gestures devoid of deceitful intent.