Born 1974

Lives and works in New York City



2007 Milton Avery School of the Arts at Bard College

2002 Ringling School of Art and Design

2000 Yale/Norfolk Artist Summer Residency Fellowship

AICAD New York Studio Program



2016 Ort, Campoli Presti, London

Power, Corruption & Lies, David Lewis, New York

2015 Tableau Table Tavolo, American Academy, Rome

2014 A Moveable Feast – Part XII, Campoli Presti, Paris

, David Lewis, New York

2013 Five Red Herrings, Campoli Presti, London

2013 Two-Step, The Power Station, Dallas

2012 La Muse Venale, BaliceHertling, Paris

2011 The Difficult Crossing, BaliceHertling & Lewis, New York



2016 Tales of Ratiocination, Campoli Presti, London

2015 Is this living?, Curated by Jack Lavender and Hannah Lees, The approach, London

Heather Guertin, Eberhard Havekost, Peter Mandradjieff, Charles Mayton, Zak Prekop, Torben Ribe, Galerie Hussenot, Paris 

Prekop, Torben Ribe, Galerie Hussenot, Paris

Per Risplendere Devi Bruciare, Federico Vavassori, Milan

A Man of Average Means, Human Resources, Los Angeles

2014 Hypothesis for an Exhibition, Dominique Levy Gallery, New York

2013 A Scanner, Darkly, David Lewis Gallery, New York

Avant de Rentrer, Il Faut Incendier la Maison, Thomas Duncan Gallery, Los Angeles

Painter Painter,
The Walker Art Center, Minneapolis

2012 Needles in the Camel’s Eye, Thomas Duncan Gallery, Los Angeles

Foreign Figs for Florence Dingum at Villa Romana, Villa Romana, Florence

2011 Balice Hertling & Lewis, Front Desk Apparatus, New York

Vide-Poche, Sculpture Center, Long Island City

Best of 2011, Soloway, Brooklyn

2010 179 Canal/Anyways, White Columns, New York Don

Juan in the Village, curated by Bjarne Melgaard, Lars Bohman Gallery, Stockholm

2009 Leave No Trace: Troughs, Phantom Limbs, curated by Margaret Liu Clinton, International Studio

Curatorial Program, Brooklyn

No Bees, No Blueberries Saloon (with DeboEilers, Jane Jo, Jason Loebs, Blake Rayne, Georgia Sagri, Thomas Torres Cordova, Viola Yesiltac) Harris Lieberman Gallery, New York

Am Nuden Da, Session 2, Flags London

New Images, Unisex, Kevin Bruk Gallery, Miami

2008 Hermann’s Grid, curated by Gareth James, Galleria Franco Soffiantino Arte Contemporanea, Turin

The Grey House That Thinks Itself Into Your Head Without Asking, curated by Jessica Dickinson,   Peter Fingesten Gallery-Pace University, New York

Wish You Were Here, TAT, Berlin

2007 New Misunderstandings-Return of the Same, Moti Hasson Gallery, New York



2015 Muchnic, Suzanne. “Charles Mayton: Song of the Shrimp,” Artnews. December        Miller, Peter Benson, Sillman, Amy, Mayton, Charles. “Tableau, Table, Tavolo” Nero   Publishing, The American Academy in Rome

“Tableau, table, tavolo”, nelle tele di Charles Mayton, La Repubblica, April 10

Tagliafierro, Marco. “Charles Mayton at the American Academy in Rome”

2014 Saltz, Jerry. “See This Art” New York Magazine, February 20

2012 Marshall, Piper. “Charles Mayton”, Frieze, March

2011 Baker, Allese Thomson. “Critics Pick Charles Mayton”,

Bollen, Christopher. “Hells’ Angels”, Interview Magazine, September


14 Apr, 2016-21 May, 2016

Campoli Presti, London

Charles Mayton
15 April – 22 May 2016
Campoli Presti, London

Campoli Presti is pleased to present Charles Mayton’s third solo exhibition with the gallery.

For this exhibition, Charles Mayton placed recent paintings under the umbrella title Ort. It is indicative that Ort should look like a gibberish word and actually be a google-able term. It means a scrap or remainder of food from a meal. The title seems to identify the paintings’ inclusive means of construction. The surfaces emerge from particular fragments of works in transition, constructing different sequences of temporal strata throughout their circulation at the studio. The Democratizing corpulence of mark-making interweaves the disparate layers of paint.

The material from previous Charles Mayton shows collides and coagulates on the canvases. The density of motifs is in a direct relation to the physical density of paint that is built up—a diachronic process of painting. Images are projected over the final layers of the paintings and the forms stutter across the previous iterations.

Mayton also produced two new canvases, both titled Figure, that advance his ongoing silhouette series. The silhouette works differentiate the structure of the canvas in three parts—the surface (colour field), the material (operation of the ‘ground’), and the form (sign function). The previously shown silhouettes are more legible, like exclamation marks and bow ties. These generic symbols are made out of the gesso layer surrounded by a dense field of colourful brushstrokes, the notional ‘painting moment’. The Figure silhouettes are more ambiguous so that the gesso ground becomes a more multivalent form of blankness.

– Walter Smith

Charles Mayton lives and works in New York. Recent exhibitions include American Academy, Rome (solo 2015); Walker Art Center, Minneapolis (2013); The Power Station, Dallas (solo 2013) and Sculpture Center, New York (2011). Mayton graduated from Milton Avery School of the Arts at Bard College in 2007.

Tales of Ratiocination

23 Feb, 2016-02 Apr, 2016

Campoli Presti, London

Martin Barré
Christian Bonnefoi
André Cadere
René Daniëls
Sheila Hicks
Jacqueline Humphries
Barbara Kasten
Charles Mayton
Michel Parmentier
Blake Rayne
Carol Rama
Amy Sillman
Cheyney Thompson

Tales of Ratiocination
23 February – 2 April 2016
Campoli Presti, London

Tales of Ratiocination focuses on the delineation of a chain of operations, a subtle reasoning that establishes a set process for the making of artworks. For Edgar Allan Poe, ‘ratiocination’ meant the use of analytical powers to solve mysteries, using different kinds of information to explore, question and sometimes satirize the certainty of a deductive method. The artists in the exhibition share a common concern with developing compositional or even anti-compositional strategies that explore the role of the artist and the historically set rules of artistic agency.

Martin Barré, André Cadere and Michel Parmentier deliberately introduce an anomaly into their method to destroy its underlying logic and to question the artist’s gesture. In 1977, Martin Barré stated that painting was a game between the rule and the subversion of the rule. His diagonal markings reveal the interdependence of the canvases, diverting the calculation of a geometric order. The striped pattern of André Cadere‘s Barres de bois rond, (round bars of wood) follows a distinctive sequence. Each colour succeeds the previous one in a constant mathematical permutation that includes a systematic error. The diameter of the wooden segment equals its length and, in each case, the colour of one segment is represented by a number. The segments are set together in order resulting from a permutation which includes random shifts – and an error results from the inversion of two segments in the sequence. In 1983 Michel Parmentier reiterated his 1965 horizontal stripe folding technique, changing its colour arbitrarily each year for three years, so as to detach himself from a personal preference and to objectify the nature of colour.

Correspondingly Cheyney Thompson’s Stochastic Process Paintings combine algorithms employed by financial theorists to predict market patterns with colours taken from Albert Munsell’s 19th century three dimensional colour system. This succession of random, scientifically dubious steps, provides a system that registers the repetition of an inexact rule, commenting on the subject’s ability to enunciate it.

The intentional reiteration of a pattern, often applied in a playful fashion, operates as a means to speculate around the stability of a method. The use of motifs such as the bowtie in René Daniëls‘ and Charles Mayton‘s work reflects their interest in painting as an instrument of encoded meaning, introducing different mechanisms without resulting in closed iconographic interpretations. Carol Rama describes the repeated use of strips of rubber as joyful, following her unceasing commitment to adding everyday life materials into her works. Sheila Hicks‘ playful yet reverential subversions of weaving traditions result in laborious abstract compositions.

Christian Bonnefoi finds the strategy of his paintings in the physical threads moving through his paintings. The minimal gaps and transparencies of the material lead to his attempted direction, usually alluding to the figure of the labyrinth to describe the eternal back and forth between his intentional manipulations and the visual end. Describing a comparable continuous process, Jacqueline Humphries has said, “I start a painting by finishing it, then may proceed to unfinish it, make holes in it or undo it in various ways, as a kind of escape from that finitude.”

Amy Sillman‘s layered abstractions are based on the tension between an affective and a formal method, negotiating between the improvisatory and the structural aspects of thinking itself. Blake Rayne’s Wild Country series equally explore the properties of a fluctuating movement, as its wandering line moves across the surface of a layered background, in an intuitive movement that recalls automatic writing.

Barbara Kasten designates the studio as an environment of transitory structures that exist only to be photographed. Following the compositional vocabulary of constructivism, Kasten transfers rules from other artistic fields into photography, expanding its limits.

For further information or visuals please contact

A Moveable Feast – Part XII

12 Jul, 2014-27 Sep, 2014

Campoli Presti, Paris

A Moveable Feast – Part XII
Charles Mayton
12 – 27 September 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce the twelfth part of A Moveable Feast with a solo presentation by Charles Mayton.

Playing off the theme of The Moveable Feast in a punning manner, a selection of five individual new works constitute something like that of a tasting menu. Each of the works is composed of their own individual logic and material ingredients. These ingredients translate literally to material painting procedures and signification comprising a sampling of a linguistic range in differing pictorial painting constructions. These include historical painting subjects such as the classical still life, along with quoted tropes and signifiers employed in modernist painting to a more current relationship to \ˌre-pri-ˌzen-ˈtā- shən, -zən-\ utilizing photographic and digital printing processes.

These works conversely set up a sculptural tension between two conventions of painting as an object; the flatness of the picture plane and the architectural construction of the support. Figure and ground compete spatially and blur the edges between image and support, material and application. The use of a canvas as the supporting structure for a second mirrors the classic device of the mise en abyme, historically used to quote another work or to simply depict a “painting” within the painting. Collaged elements interrupt the flatness of \ˌre-pri-ˌzen-ˈtā-shən, -zən-\ and reveal painting’s ability to be quickly subsumed into image, acknowledging their inevitable flattening.

The shared link in these works is a self-conscious \ˌdē-ˌgəs-ˈtā-shən\ with regard to each as a physical performance through material means. The material and linguistic modes employed here articulate a /’dedˌpan/ approach with a sense of humor and play within painting. They are meant to be consumed and digested both visually as well as linguistically.

Five Red Herrings

06 Sep, 2013-09 Oct, 2013

Campoli Presti, London

Charles Mayton
Five Red Herrings
6 September – 9 October 2013
Campoli Presti, London

“The criminal is the […] artist, the detective only the critic”1

Campoli Presti is pleased to present Five Red Herrings, the first solo exhibition in London of New York based artist Charles Mayton.

Taking its title from Dorothy Sayers’ 1931 murder mystery novel Five Red Herrings, the show proposes a correlation with the demise of an author and a list of six possible suspects all of whom are
fellow artists – five being red herrings. The premise of Sayers’ novel involves a painter called Sandy Campbell who is found dead in a stream at the bottom of a ridge. At the top of the ridge stands an easel with a half-finished painting that is thought at first to be a painting that Campbell was working on at the time of his death. Upon further inquiry, an investigator visiting the Scottish artist/fishing community on holiday discovers that someone other than Campbell executed the half-finished painting, therefore revealing the first clue to solving the mystery of the artist’s death.

Using this story as a point of departure, the exhibition conceives a situation where identities are obscured and arworks function similarly to pieces of a puzzle. Mayton has included other fellow artists as anonymous collaborators that articulate or challenge the very premise of the exhibition – the artist’s identity, and the true intentions of the ‘five red herrings’.

Repeated motifs appear throughout, producing a set of associations that questions representation, authorship and the authority of the artist’s signature. Mayton’s own paintings do not function as isolated entities, but derive their significance from their position within the artist’s oeuvre. Grappling
with leftover notions of painting in a playful fashion, commonplace signs and conventional forms of representation are appropriated and re-purposed as psychological constructs that map out the formal settings of a given exhibition. Mayton employs borrowed and self manufactured motifs within his work that oscillate between deadpan signification and other varying visual/linguistic encoded means. Visual puns, metaphors, generic painting tropes, as well as word play and titling, are all means to extend or sometimes interfere with the notion of narrative. For Mayton, the foremost narrative is painting itself – a narrative that moves away from closure or resolution and instead move forward a state of constant formulation.

Charles Mayton was born in 1974 in Dallas, TX and lives and works in New York City. Recent exhibitions include Walker Art Center, Minneapolis (2013), The Power Station, Dallas (2013) and Sculpture Center, New York (2011).

1. G.K. Chesterton, The Blue Cross: A Father Brown Mystery.