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Cheyney Thompson opens an exhibition of works at Ordet, Milan Cheyney Thompson, To be titled, 2020. MILAN .- Cheyney Thompson’s new series of Displacement paintings posits each canvas’s ground as a touch-sensitive surface. The works adopt a uniform structure of five-millimeter square black marks painted in a gridded pattern atop a white ground. Before the paint is dry, Thompson deploys an assortment of custom silicone tools against the surface, forcing the wet squares out of place. He adds no new material, but rather subjects the existing marks to this process of reorganization. The resulting transformations appear as extensions of squares into lines, glyph-like forms, and sweeping, sinuous fields of paint. Each painting has become a record of the tools’ interaction with the surface: the stops and starts, the kinetic limits of Thompson’s body and the entropic movement of the order of painted squares into noise. But, they are also pictures, as this play of ruptures and conjure

New yorkUnited statesBaden wubergCzech republicUnited kingdomAnnandale on hudsonBard collegeSan franciscoKunstverein braunschweigPeter paul rubensSam lewittStaatliche kunsthalleCheyney thompsonArts centerMuseum moderner kunstHessel museum of art