Born 1975 in Baton Rouge, Louisiana

Lives and works in New York



1997 BFA from The School of the Museum of Fine Arts, Boston

Harvard University, Cambridge

L’Ecole Nationale-Superieur Des Beaux-Arts, Paris



MoMA – The Museum of Modern Art, New York

The Whitney Museum of American Art, New York

Centre Pompidou, Paris

SFMOMA, The San Francisco Museum of Modern Art



2018    Toolpaths for Bellona, Campoli Presti, London

Toolpaths for BellonaCampoli Presti, Paris 

2017  Somewhere Some Pictures Sometimes, Andrew Kreps Gallery, New York

2016  Bird Shells and Chambered Wings, Raucci/Santamaria Studio Project, Milan

2015 Birdwings and Chambered Shells, Andrew Kreps Gallery, New York

Birdwings and Chambered Shells, Galerie Buchholz, Berlin 

2014 Drunks, Campoli Presti, London

2013 10M/100 ML/10 L, Galerie Buchholz, Köln

2012  Cheyney Thompson The Completed Reference: Pedestals and Drunken Walks, Kunstverein Braunschweig, Braunschweig, Germany

Sometimes Some Pictures Somewhere, Andrew Kreps Gallery, New York

Cheyney Thompson: metric, pedestal, landlord, cabengo, recit, curated by Joao Ribas, MIT List Visual Arts Center, Cambridge, Massachusetts

2011 Chronochromes /Umberto/Simon/Carlo, Raucci/Santamaria Gallery, Naples,Italy

Chronochromes, Data, Motifs, Rat Hole Gallery, Tokyo

2010 7 Chronochromes, Menarches, Socles, Paul De Casteljau /Robert/ Motifs, Sutton Lane (Campoli Presti), Brussels

Memphis, Pedestals, Chronochromes, Subincision, Papua New Guinea, /Macaire/, Motifs, Overduin and Kite, Los Angeles

2009 Pedestals, Bias-cut, /Robert Macaire/, Chromochromes, Galerie Daniel Buchholz, Berlin

Robert Macaire Chromachromes, Andrew Kreps Gallery, New York

2008 Some Motifs and their Sources, Galerie Daniel Buchholz, Cologne, Germany

New Works, Sutton Lane (Campoli Presti), Paris

Cheyney Thompson, Galleria Raucci Santamaria, Naples, Italy

2006 Quelques Aspects de l’Art Bourgeois: Le Non-Intervention, Andrew Kreps Gallery, New York

The End of Rent Control and the Emergence of Creative Class, Galerie Daniel Buchholz, Cologne, Germany

2005 36 ART BASEL Statements

Cheyney Thompson, Galleria Raucci Santamaria, Naples, Italy

Cheyney Thompson: Selected works, Cheekwood Museum of Art, Nashville

2004 1998, Andrew Kreps Gallery, New York, NY

2003 1817, Sutton Lane (Campoli Presti), London

2002 1 Scenario + 1 Situation, Andrew Kreps Gallery, New York, NY

2000 Cheyney Thompson, James Fuentes Gallery, New York, NY

Cheyney Thompson, Parker’s Box, Brooklyn, NY

1999 Cheyney Thompson, The Norman Project, New York, NY



2017 Plages, Campoli Presti, London, 

Grid. Gradient. Drunken Walks, Two person exhibition with Sam Lewitt, The House Of Arts, Brno

L’emozione dei colori nell’arte, Castello di Rivoli, Italy

99 Cents or Less, Museum of Contemporary Art Detroit

New York Grid, Mathew NYC, New York

Tainted Love, Confort Moderne, Poitiers, France 

2016 Fine Young Cannibals, Petzel Gallery, New York

Group Exhibition, Campoli Presti, Paris

Money, Good and Evil. A Visual History of Economics, Staatliche Kunsthalle Baden-Baden,  Germany

From Minimalism Into Algorithm, The Kitchen, New York

WORLD WON’T LISTEN, Capital Gallery, San Francisco

Tales of Ratiocination, Campoli Presti, London

2015 Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum, New York

Transmission. Recréation et répétition, Palais des Beaux-Arts, Paris

2014 SCORE! Curated by Amy Sillman and Cheyney Thompson, Center for Curatorial Studies, Hessel

Museum of Art, Bard College, Annandale-on-Hudson, NY

A Moveable Feast – Part XI with Eileen Quinlan, Campoli Presti, Paris

Une Histoire. Art, architecture et design des années 80 à aujourd’hui, Centre Pompidou, Paris.

2013 And Materials and Money and Crisis, Museum Moderner Kunst, Vienna

drunken walks / cliché / corrosion fatigue / ebay, Miguel Abreu Gallery, New York

Abstract Generation: Now in Print, The Museum of Modern Art, New York

After Finitude, Or Gallery, Vancouver

2012     Chat Jet, Painting Beyond the Medium, Künstlerhaus Graz, Austria

2011 The indiscipline of Painting, curated by Daniel Sturgis, Tate St. Ives, England

Systems Analyse, Langen Foundation, Dusseldorf

New York to London and back-The Medium of Contingency, Thomas Dane Gallery, London

2010 Systems Analysis, West London Projects, London

Signatures, Sutton Lane (Campoli Presti), Paris

Le Tableau, Cheim and Read, New York, curated by Joe Fyfe

Blind Mirror, Galleria Raucci Santamaria, Naples

The Space Between Reference and Regret, Friedrich Petzel Gallery, New York

2009 The Whitney Biennal, Whitney Museum of American Art

Slow Paintings, Museum Morsbroich, Leverkusen

Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection, Museum of Modern Art, New York

Besides, With, Against, and Yet: Abstraction and the Ready-Made Gesture, The Kitchen, New York, curated by Debra Singer

Quodlibet iI, Galerie Daniel Buchholz, Berlin

Collatéral with Liz Deschenes, Sam Lewitt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Nora Schultz, Le Confort Moderne / Association L’Oreille est Hardie, Poitiers

La Vie mode d’emploi: Carl Andre, Martin Barré, Daniel Buren, Liz Deschenes, Sherrie Levine,                    Franz West, Sutton Lane (Campoli Presti), Paris  

2008 The Whitney Biennal, Whitney Museum of American Art,New-York

Looking back, Mireille Mosler. Ltd. New York

From Brooklyn with Love, Parker’s box, Williamsburg, Brooklyn

2007 24 November – 22 December, Sutton Lane (Campoli Presti), Paris

TBA, Cheyney Thompson and Eileen Quinlan, Arnolfini, Bristol

Art | 38 | Basel, Art Premiere (with Sean Paul)

Regroup Show, Miguel Abreu Gallery, New York

The Lath Picture Show, Friedrich Petzel Gallery, New York

For the People of Paris, Sutton Lane, Paris (cat.)

2006 It is, what is it?, Andrew Kreps Gallery, New York

Slow Burn, Galerie Edward Mitterand, Geneva

2005 Greater New York, P.S. 1 Contemporary Art Center, L.I.C., NY

Material Matters, Herbert Johnson Museum of Art, Ithaca, NY

S&M (with Eileen Quinlan), Sutton Lane (Campoli Presti) Paris

Painters Without Paintings and Paintings Without Painters, Orchard 47, New York

Sutton Lane in Paris, Sutton Lane c/o Ghislaine Hussenot, Paris

2004 Cheyney Thompson and Karla Black, Transmission Gallery, Glasgow

Quodilibet, Galerie Daniel Buchholz, Cologne

2003 Miss. Understood : James Yamada, Frederic Pradeau, Cheyney Thompson, Galleria Raucci/Santamaria, Naples

Dreams and Conflicts: The Dictatorship of the Viewer, La Bienniale di Venezia, Venice, Italy

Clandestine, La Biennale di Venezia, Venice, Italy

Tear Me Up Tear Me Down, curated by Amy Davila, White Box, New York, NY

Rendered, Sara Meltzer Gallery, New York, NY

Papers, Acme, Los Angeles, CA

2001 Life is Elsewhere, Canada Gallery, New York, NY

Playground of the Fearless Entropy Gallery, Brooklyn, NY

1999 Escape, DNA Gallery, Provincetown, MA

Formula, Oni Gallery, Boston, MA

1998 Group Show, Grossman Gallery, Boston, MA

Genesis in the Retort, Oni Gallery, Boston, MA

1996 Group Show, Gallerie Gauche, Paris, France



2017 Schaernack, Christian. «The World of Cheyney Thompson.»Neue Zürcher Zeitung, December

Hampton, Chris. «In Detroit, Artists Explore the Riches of the 99-Cent Store.» The New York Times, June

2016 Hoffmann, Jens. «The Importance of Being An Influence.» Mousse, February

2015 Saltz, Jerry. «The 10 Best Art Shows of 2015.» New York Magazine, December

2014 Rappolt, Mark, «Art Materials and Money and Crisis», Art Review, March Issue

2012 «Cheyney Thompson and Akram Zaatari» Eflux online

Smith, Roberta. «Like Watching Paint Thrive: In Five Chelsea Galleries, the State of Painting». The New York Times. June 28

«The Lookout: A Weekly Guide to Shown You Won’t Want to Miss». Art in America, June 13

Anna Majeski,«Thompson challenges perceptions of art in latest exhibit at MIT gallery», The Tufts Daily, March

Nicolas Guagnini, interview, Mousse, February – March

Peter R. Kalb, «Cheyney Thompson», Art in America, 5/4/12

Nicolas Linnert,«Cheyney Thompson», Artforum, March Cameron Martin, Cheyney Thompson, Artforum, April

2011 «Cheyney Thompson on Art Education», Art iT, November 5. Aude Launay, Cheyney Thompson, a system against the system, 02 n 56, Winter

2010 Joselit, David, «Blanks and Noise», Texte Zur Kunst, March Issue nr 75

2009 Lewis, David, «Poitiers Cedex», Artforum, July

Busta, Caroline, «Cheyney Thompson», Artforum, September

Weiner, Emily, «Cheyney Thompson», Critic’s picks, Artforum, May

2008 Davis, Ben, «Genre-Jumping at James Fuentes’s New Gallery», Village Voice, February 12

Davies, Lilian, «Cheyney Thompson – New Works», Artforum online, April 2008

2007 Knight, Nicolas, «Mind the Gap»,, May-June

Richard, Frances «Cheyney Thompson» Artforum, February

Gronlund, Melissa. «Future Greats: Cheyney Thompson» Art Review, March

2006 «Cheyney Thompson», New Yorker,. December, 25

Smith, Roberta. «Museum and Gallery Listings:Cheyney Thompson: Quelques Aspects De L’Art Bourgeois: La Non-Intervention», The New York Times, December, 29

Smith, Roberta, «Art in Review; Cheyney Thompson». The New York Times, December, 22

Higgs, Mathew, «On the Ground, New York», Artforum, December

2005 «Cheyney Thompson et Eileen Quinlan»,, November 05

«Emerging Artists», artMatters, School of the Museum of Fine Arts Boston, Fall

Maddox, David. «Everyday Scenes – Two painters who render the banal in distinct ways», Nashville Scene, March 24

Hirsch, Faye. «Cheyney Thompson at Andrew Kreps», Art in America, January 2005

Inselmann, Andrea, «Material Matters», Herbert F. Johnson Museum of Art at Cornell University (cat.)

2004 Dailey, Meghan. «Cheyney Thompson at Andrew Kreps», Artforum, Summer 2004

Campagnola, Sonia, «Miss Understood», Flash Art, February-March

«Cheyney Thompson» The New Yorker, April 12, 2004, p. 12

Cotter, Holland «Cheyney Thompson» The New York Times, April 9, 2004

Levin, Kim. «Cheyney Thompson», Village Voice, April 7 – 19, 2004

2003 Saltz, Jerry, «After Shock», The Village Voice October 31

«Cheyney Thompson: The Table of Accumulation (Clandestine, Aresenale)», V Magazine September/October

Saltz, Jerry, «Babylon Rising», The Village Voice, September 5

«Cheyney Thompson at Sutton Lane»,, November 2003

Lake, Claudia, «The Artworld: Cheyney Thompson» Prophecy Magazine, Issue 4, 2003

Harris, Larissa. «Venice Diary», Artforum Online

Wilson, Michael. «Periodic Tables», Frieze, Issue 76 (June, July, Aug.)

Ricci, Daniela, «Miss Understood», Il Mattino, November

Fujieda, Manami. «Very New York!» issue, BT Magazine, January 2003

2002 Burton, Johanna. «Cheyney Thompson», Time Out New York, July 4-11, 2002

Levin, Kim. «Voice Choice: Cheyney Thompson», The Village Voice, June 26 – July 2, 2002

«Critics Pick», Time Out New York, June 27-July 4, 2002

Newhall, Edith. «Cheyney Thompson», New York Magazine, June 24-July 1, 2002

Solo exhibition

04 Jul, 2018-29 Sep, 2018

Villa di Geggiano, Siena

Cheyney Thompson 
Solo exhibition
4 July – 14 October 2018
Villa di Geggiano, Siena 

Campoli Presti is pleased to announce Cheyney Thompson’s solo presentation at Villa Geggiano, Siena.

Exploring the history, practice, and circulation of painting as his subject, Cheyney Thompson methodically deconstructs how a work is created, revealing historically established perspective systems, subject matters, colour standards, and post-studio circulation within a given socio-economic context.

Thompson employs rational structures, technological processes, and generative devices to think about painting’s establishment as a medium in art history, engaging in a translation operation that focuses on the reconstruction of painting’s technological and historical organization.

Thompson’s Stochastic Process Paintings are based on the Drunken Walk algorithm, an aleatory path that is used in financial theory to predict stockmarket prices. In his paintings, Thompson places the algorithm into a three-dimensional colour-system conceptualized by Albert Munsell, which has been deployed by the artist during the past years to tie his practice to a rigorous quantification of colour, most noticeably in his Chronochrome series. The algorithm is programmed to cover a distance of 8032 steps. The diverse positions of the line drawn by the algorithm within the solid of Munsell’s ten primaries colour model can be translated into amounts of different hues, saturations and values that Thompson finally applies onto the canvas. For the four paintings in Geggiano Thompson inputs the algorithm with the palette of the chapel, creating an interaction between the works and the given conditions.

The paintings are reduced to abstract informatization, which mirrors the immateriality of economic processes. Curiously enough, the paintings create a vivid visual effect from a static picture plane, adding a fictional three-dimensionality. 

Cheyney Thompson’s work was on view at the Centre Pompidou, Paris in Collected by Thea Westreich Wagner and Ethan Wagnerwhich travelled from the Whitney Museum, New York. Thompson had a survey exhibition at the MIT List Visual Arts Center, Massa­chusetts (2012) with an accompanying monograph and was included in the 2008 Whitney Biennial as well as the 2003 Venice Biennial curated by Francesco Bonami. Past exhibi­tions include Chat Jet – Painting ‘Beyond’ The Mediumat Künstlerhaus Graz (2013), The Complete Reference: Pedestals and Drunken Walks(solo) at Kunstverein Braunschweig (2012); The Indiscipline of Paintingat Tate St Ives (2011); Systems Analysis at West London Projectsand Langen Foundation, Germany (2010); Greater New Yorkat P.S.1 Contemporary Art Center (2005).

Toolpaths for Bellona

22 Mar, 2018-12 Apr, 2018

Campoli Presti, Paris

Toolpaths for Bellona

16 Mar, 2018-28 Apr, 2018

Campoli Presti, London


16 Feb, 2017-18 Mar, 2017

Campoli Presti, London


Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch as Sarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

For further information or images please contact

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Liz Deschenes / Jutta Koether / Daniel Lefcourt / Scott Lyall / Sean Paul / Eileen Quinlan / Blake Rayne / Reena Spaulings / Cheyney Thompson
10 June – 23 July 2016
Campoli Presti, Paris

Campoli Presti is pleased to present a group exhibition featuring works by Liz Deschenes, Jutta Koether, Daniel Lefcourt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson. This generation of artists, which the gallery has represented since the beginning, has markedly contributed to redefine notions on medium-specificity and artistic agency. Their work was recently included in the exhibition “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art in New York which has travelled to the Centre Pompidou in Paris and is currently on view.

Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Liz Deschenes has recently worked without a camera to produce reflective photograms. These are obtained by exposing sheets of photosensitive paper to the ambient light of night before fixing them with silver toner. Deschenes’ work is increasingly concerned with architectural and historical contexts of exhibition display. Spatial factors and tangible conditions of display become inscribed in the physicality of the artwork rendering the photograph as a framing-device that intends to ‘bracket’ the space and activate the viewer. The reflective surface of the new photograms on view engages the movements of the viewer and the surrounding architecture.

Jutta Koether’s practice often involves appropriations of literature and art history masters, negotiating questions of aesthetic consensus and of the social-economical networks in which artistic practice operates. Based on Helios and Phaeton by Nicolas Poussin, Koether’s work presented in the exhibition alludes to the geometrical landmark of Western Art while defining a field of play. Locked in the material structure around it, the figure is engaged in a broader movement, organising different zones of contact. By addressing the attraction between archaism and metrics, Koether’s systematic application of paint engages the viewer in a micro-contemplation, comparable to the visual experience of picking up pennies from the ground. The painting forms part of a broader series of works that explores the allegorical figure of Fortune’s wheel and the medieval goddess Fortuna, a metaphor of role of chance in time’s passage.

Throughout his career, Daniel Lefcourt has continually engaged the space between painting and technical imaging. Lefcourt’s work reflects on contemporary image production and the digital economy of images while negotiating the reality of material procedures. His production techniques use aspects of photography, computer modelling, digital fabrication, and sculptural casting. For his Plot Fill and Cast series, Lefcourt has used computer-controlled router, digital scanning and machining techniques as the basis for a play with written and visual communication and the languages of painting. His new body of work from 2016 collapses both series, exploring the space between writing, drawing and painting. Entirely mechanically produced, Untitled (Machine Painting), 2016 is based on geometric drawings that program the path of the brush. Developed from Lefcourt’s interest in digital technologies, the works push the boundaries of painting, juxtaposing the mechanical with the chance of the material.

Scott Lyall’s recent series of works research on the status of digital colour as a code that is constantly translated, transformed, and materialized; continually delaying or deferring its meaning. His printing technique extends this act of translation as it turns information directly into colour. The canvases are produced by combining ink and its erasure, in multiple passes, through a UV-based printer. These graphic assemblages of colour data – ‘non-images’ in a certain way – form visual atmospheres that shift depending on different viewpoints, inscribing within the process an actual experience of ‘colour’.

In Sean Paul’s Arrangement 15, Front/Top/Bottom/Right/Left/Back, a still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape; the black squares function as tokens, which allow the spatial geometry of the still life to be discerned. Following standard practices of technical representation, used for example in the fields of architecture or product design, the still life is pictured from six perpendicular planes forming a box of views composed of the front, back, left, right, top and bottom angles. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. Madame Leblanc, Rerversed, 2012 is based on the Ingres masterpiece “Madame Leblanc”. This print admits 4 different folds, therefore 8 possible configurations on the wall. It is imagined as being folded upon an idealized architectural plane. The type of fold represented above is mapped into a 90 degree convex angle of an existing space.

Eileen Quinlan explores photography’s capacity to be both record of physical facts and deceptive illusion. Employing analogue techniques in an era of digital manipulation, Quinlan creates atmospheric abstract images using the standard tricks of commercial film photography. Based entirely in the studio, Quinlan’s work uses pre-digital photography techniques—such as gels, strobes, smoke and mirrors—to create mesmerizing abstract compositions of light, colour, and texture. Her works recall the pure abstraction of Modernist painting, but are actually direct representations of the items used to create backdrops in commercial photography. The polaroid plays an important role in Quinlan’s practice, often employed as a first take when photographing the still lifes she stages in the studio.

Blake Rayne’s last series of paintings related to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne freely paints the line tracing the surface in an intuitive movement that recalls automatic writing techniques, evoking the wandering and errant traces of digital interfaces. His new body of work from 2016 further explores these concerns by collapsing line and process. For Untitled, 2016 a steel banding commonly used in the shipment of crates was utilized as a soft stencil to create a white looping line lightly dusted with aerated acrylic paint in layers of various colours. The paperclips that initially held the banding together were released to allow for expansion into the final shape of each of the line compositions, now appearing as silhouettes.

Reena Spaulings’ The Dealers (2007) and The New Dealers (2013) were portraits of gallerists based on images downloaded from’s ‘Scene & Herd’ and other art world-related websites depicting friends and professional colleagues that Spaulings worked with over the years. The portraits from 2013 – the second instalment of the series first shown at Kunsthalle Zürich in 2007 – featured a more recent generation of art dealers, exposing the increasing social interests that rule the art market by turning the traders into commodities themselves. Executed in active brushstrokes the portraits play with various features of expressionist figurative painting from the 80s, such as the preference for parody or working from found images. These irreverent portraits of prominent gallerists reflect Spaulings’ interest in art’s status as an exchangeable commodity, whilst addressing the specific displacements, social networks and ambiguities Reena Spaulings inhabits in her double identity of both artist and gallerist. The Complete Dealers features a rack with promotional postcards based on the paintings of both generations of dealers, on a display that evokes their rotating popularity and the visibility features of a retro marketing tool.

Cheyney Thompson’s work focuses on the technology, production and distribution of painting within the context of current abstract economy. Thompson presents us with a visual equivalency for the intangibly complex processes governing our economic systems. The works on paper on view are based on the « Drunken Walk » algorithm, an aleatory path that is used in financial theory to predict stock prices. The algorithm belongs to the study of certain seemingly random types of motion, from botanist Robert Brown’s 19th-century observations of pollen floating on water as well as mathematician Louis Bachelier’s early 20th-centry application of Brown to model fluctuations in stock markets. In this case the “random walk” taken by Thompson’s entity produced a new sequence of values, which he then mapped onto a path, akin to the path of a labyrinth.


Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has an upcoming survey exhibition at the ICA Boston opening on 28th June. She recently had solo exhibitions at the Walker Art Center, Minneapolis and at MASSMoCA, North Adams. Deschenes’ work was recently included in Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum, New York and in Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York. Past exhibitions include a solo exhibition at Secession, Vienna (2012-2013); the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).

Jutta Koether was born in Cologne in 1958. She lives and works between New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Koether has an upcoming survey exhibition at Brandhorst Museum, Munich in 2017. Her work was part of Painting 2.0, Expression in the Information Age at Brandhorst Museum travelling to Mumok, Vienna. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011), Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Kölnischer Kunstverein, Cologne (2006). She was included in the Shanghai Biennial in 2014, in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work was recently on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Scott Lyall is part of the collection of the Whitney Museum, New York. Lyall’s work was recently on view at the Whitney Museum, New York as part of Collected by Thea Westreich and Ethan Wagner. Past exhibitions include The Colour Ball at The Power Plant in Toronto (solo); the little contemporaries at Sculpture Center, New York (solo); When Hangover Becomes Form (with Rachel Harrison), Contemporary Art Gallery, Vancouver; Anti-Establishment, curated by Johanna Burton, at the CCS Bard Hessel Museum; Schnitte im Raum, Museum Morsbroich, Leverkusen; Tentation d’Hazard, The Montreal Biennial 2011; Collatéral, Le Confort Moderne, Poitiers; The Lining of Forgetting, Austin Museum of Art, Weatherspoon Art Museum; and SITE Santa Fe, 7th International Biennial 2008.

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Past solo exhibitions include Communication in the Presence of Noise and Service Relations, Thomas Duncan Gallery, Los Angeles; A Moveable Feast, Part II, Campoli Presti, Paris; and Every Hair of the Bear, Front Desk Apparatus, New York and Symposium, Sutton Lane (Campoli Presti), London. Recent group exhibitions include Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York; Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY and Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

Eileen Quinlan lives and works in New York. Her work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work was recently shown at the Museum of Cycladic Art, Athens and presented at Bergen Kunsthall, Norway in 2015. It formed part of Collected by Thea Westreich Wagner and Ethan Wagner at Whitney Museum of American Art, New York (2015/16) and New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009.

Blake Rayne lives and works in New York. His work is included in the permanent collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York and Fonds Regional d’Art Contemporain, France (FRAC). His upcoming survey solo exhibition at the Blaffer Art Museum de Houston, Texas will open in October 2016. His work recently was on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. Past exhibitions include Künstlerhaus Graz, Austria (2013), Langen Foundation, Germany (2011), Kunsthalle Bergen (2010), The Kitchen, New York (2010) and Le Confort Moderne, Poitiers (2009).

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial. Group shows include: Une Histoire, Centre Pompidou, Paris, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting, Tate St. Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and The Venice Biennale, Italy in 2003.

For more information or images please contact Ines Dahn

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 XI

03 Jul, 2014-26 Jul, 2014

Campoli Presti, Paris

A Moveable Feast – Part XI
Eileen Quinlan & Cheyney Thompson
3 – 26 July 2014
Campoli Presti, Paris

Campoli Presti is pleased to announce A Moveable Feast – Part XI with a presentation of works by Eileen Quinlan and Cheyney Thompson. This is their second collaborative exhibition at the gallery since Smoke & Mirrors, presented in Paris in 2005.

In Quinlan’s new black and white gelatin silver prints (2014), photography is used as a space for performance. The female body, reshaped by the glass it’s pressed against and veiled by the effect of vapor and water, is first documented extensively with a regular digital camera. Selected images are later rephotographed with a 4 x 5 large format camera, allowing Quinlan to work serially and to explore further the relationship between the limits of analog photography and the virtually infinite possibilities of the digital.

The final prints are the result of a wide array of physical interventions that degrade the surface of the negatives, such as scratching the film with tacks, steel wool, and ballpoint pens and leaving the film in a bath saturated with chemicals that accelerate or alter the developing process. Here, the sheets of film are processed by hand. Quinlan uses her fingers to push the emulsion across the surface of the negative rather than using the rollers of the Polaroid back. The prints are all equally sized and pinned directly onto the wall, emphasizing their status as images rather than formatted objects. The lack of a frame, a distancing mechanism, makes these works fully available to the eyes of the viewer.

The color Polaroid photograph Fine Motor Skills (2014), is the first in a new series. Quinlan is using the tiles the artists’ children play with to create a sculptural form reminiscent of a fairy-tale castle or the Cologne Cathedral.

Thompson’s latest series of works continue his investigation on the technology, production and distribution of painting within the context of current abstract economy. The works on view are based on the Drunken Walk algorithm, an aleatory path that is used in financial theory to predict stock prices. In his Stochastic Process Paintings, Thompson executes the algorithm inside the three-dimensional color-system created by Albert Munsell. The diverse positions the line draws within the solid of the color model can be translated into amounts of different hues, saturations and values that Thompson finally applies on canvas in squares of one centimeter. All of the works in the series share the same quantities of color information, 8034 square centimeters, thus determining the format of the paintings.

An homologous procedure is followed in his Broken Volume sculptures through the multiplication of a one inch concrete cube along a path prescribed by the Drunken Walk algorithm. In these works, the constraint placed on the sculptural form consists only in the quantitative. All the works produced in this series share the same volume of concrete, 10 liters. With no regard for their own structural limits, they are left to break under their own weight. Outside of the smoothed numeric space of their conception, they continually orient themselves to the material forces embedded in the temporal conditions of exposure and circulation. The works are developed in dialogue with recent critical approaches towards parametric architecture, used for modeling, monitoring and prediction purposes in a context of increasingly mobile political decisions.

Eileen Quinlan lives and works in New York. Her work forms part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art, The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and the FRAC (Fonds Regional d’Art Contemporain), France. Her work formed part of the exhibition New Photography 2013, curated by Roxana Marcoci at MoMA, New York. She has recently participated in the exhibitions Rites of Spring at the Contemporary Arts Museum, Houston, Texas (2014); in What is a photograph at the International Center of Photography, New York (2014); «Y? O! G… A.», with Matt Keegan at The Kitchen, New York; and All of this and nothing at the Hammer Museum, Los Angeles (2010). Quinlan has had a solo exhibition at the ICA in Boston (2009).

Cheyney Thompson’s work is part of the permanent collections of MoMA, New York; the Whitney Museum of American Art, New York; and the Centre Pompidou, Paris. His work is currently included in the exhibition Une Histoire. Art, architecture et design, des années 80 à aujourd’hui at Centre Pompidou, Paris. He recently had a solo survey exhibition at the MIT List Visual Arts Center, Massachusetts (2012) with an accompanying monograph and was included in the 2008 Whitney Biennial. Past exhibitions include Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz (2013); The Complete Reference: Pedestals and Drunken Walks (solo) at Kunstverein Braunschweig (2012); The Indiscipline of Painting at Tate St Ives (2011); Systems Analysis at West London Projects and Langen Foundation, Germany (2010); Greater New York at P.S.1 Contemporary Art Center (2005) and Clandestine at The Venice Biennial 2003.


07 Jun, 2014-26 Jul, 2014

Campoli Presti, London

Cheyney Thompson
7 June – 26 July 2014
Campoli Presti, London

Under the title « 10M/1000 ML/10 L » Drunks Cheyney Thompson (* 1975, lives in New York) presents in his fourth fifth solo exhibition at Galerie Buchholz Campoli Presti a group of new paintings, drawings and sculptures.

The science of economics developed in the eighteenth and nineteenth centuries predominantly in the medium of language. The impact of set theoretical and topological reasoning after World War II finally put this verbal tradition to an end. Paralleled by the mathematization of economics from the 1950’s onwards, finance slowly moved from the margins of curricula at business schools to the center of value production. Its rise during the 1990’s marks the technical actualization – mathematical models drawn with pencil on paper were put to the test with the help of computers – of an epistemic shift, which has been in prolonged hibernation. As early as in 1900, Louis Bachelier discusses in his doctoral thesis “The Theory of Speculation” the application of stochastic processes to evaluate stock options. It has since marked the most general strand, that has not only transformed the study of finance, but the functioning of markets themselves. Bachelier’s main thesis is that the prices of stocks and similar securities follow a random walk and therefore the mathematical theory of probability can be applied, which was complemented in the 1960’s by an argument that explicated this. Prices follow a random path, since any information available prescribes their development. This is taken into account by speculators and thus cancelled out. Markets are efficient and only therefore subject to the arithmetics of chance.

A variant of such a random walk algorithm is put to work in this exhibition by Cheyney Thompson in order to produce paintings and sculptures. With regards to the paintings on view, its meander is placed into a three-dimensional colour-system conceptualized by Albert Munsell at the turn of the last century, which has been deployed by Thompson during the past years in order to tie his practice to the possibility of a rigorous quantification of colour. The algorithm is programmed to cover a distance of 10 meters 8032 steps. The diverse positions the line drawn by it within the solid of Munsell’s ten primaries colour model can be translated into amounts of different hues, saturations and values – milliliters square centimetres– Thompson finally applies on canvas. The algorithm – as a model which produces nothing but colour quantities and as information the beholder knows about – withdraws the surfaces of the tableaux from the possibility to read their compositions as indices of intention. Painted in a colour-spectrum in fact recommended by Munsell for reproduction, they negate from the start their singular sensual presence. The articulated brush traces, which ought to do nothing but spend the material, apparently struggle to escape the habitus of the painter. They are fraudulent in the sense that they cannot become an object of judgement. This is precisely so because one cannot even confirm by merely looking at them the application of their rule.

What they produce is a perspective from which the painter as well as the viewer are excluded. They are opaque, not where their redundant materiality becomes visible, but by means of their reduction to an abstract informatization, which mirrors the intangibility of economic processes that they nonetheless break down within the finite form of painting: a test pad for the non-liveable. It is the same algorithm Thompson resorts to for a set of sculptures. Whereas the paintings apparently take up the monstrous heritage of materialism, as it was first tentatively worked through by Impressionism, the sculptures appear to resume modernist painting’s debt to architecture. A one inch cube, as its elemental form of volume, is made to multiply itself on the algorithm’s path. Mimicking Parametricism’s contemporary triumphal lingo, which announces itself as the new global style of building, wearing the old mask of cast concrete, the bends and windings the cube stutters along produce shapes whose orientation remain unfathomable. To place those objects on the ground or on pedestals, whatever they might be doing there, expose them to gravity, let them crack, remains the only reasonable, maybe vital idiocy. The sculptures’ program is ended at somewhat contingent points. Most models have broken underneath their own weight. What would it mean to not give in? It is the only way out from becoming fatalistic.

Simon Baier

Cheyney Thompson’s work is part of the permanent collections of MoMA, New York and Centre Pompidou, Paris. He recently had a solo survey exhibition at the MIT List Visual Arts Center, Massachusetts with an accompanying monograph and was included in the 2008 Whitney Biennial. Past exhibitions include The Complete Reference: Pedestals and Drunken Walks (solo) at Kunstverein Braunschweig, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting at Tate St Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and Clandestine at The Venice Biennial 2003.

For further information or images please contact


Two introductory comments for a panel with Reinhold Martin and Patrik Schumacher

1) Matthew Poole

The profession of architecture has often been at odds with architectural historians, theorists and critics in the insistence that architecture is not and cannot be political. One of the key purposes of this conference is to ask what is at stake in such claims and conversely what is at stake in claiming as we are claiming the necessity of a discourse on the politics of such claims. The conference asks if and how at this juncture in history it might be more important than ever to look once again into this abyss to forge a discourse that could cross the intellectual, ethical and philosophical devide within the fields of architecture and social politics – to ask what political terrain parametricism is inserted into and grows out of and what its agency may be to provoke, guide and generate changes in collective and individual thinking, attitudes of behaviors within that terrain. So parametricism is a useful case study in this regard because its tools and mechanisms interject digital electronic automation into design and modeling processes more explicitly and fully than ever before. This paradigm shift explicitly introduces a deceptively simple set of questions that simultaneously defer and radically fracture common and familiar epistemes and ontological categories. For example, parametricsm provokes us to ask what is a building, what is a place, what is a population, what is an act, what is a choice, what is a flow and what is a conduit, what is fluid and what is static, what is a subject and what is an object as it comprehensibly dissolves such relatively stabilized designations into and through the complex representational terrain of data flows. The terrain of politics today is also made similarly complex as we interact increasingly through globally networked digital technologies. Political agency in our world today can no longer be predicated upon simple oppositional antagonistic models of antithetical argumentation nor on dialectical synthetic models of discussion and transparent and shared consensus.

Instead the terrain for politics today is more difficult to navigate than ever before as the principal currency and medium for knowledge of ourselves, our values and the predicates of the decision making that we make are increasingly mobile and dynamic in ways that constantly accelerate. This hyper complexity is observed for example in global financial economics, in climatology and ecology and in population modeling, monitoring and prediction.

Indeed it is now virtually impossible to schematise all these things in ways that are comprehensible to individual human consciousness without the aid of digital electronic prostheses. Such computational prostheses not only assist us in managing hyper complexity but also fundamentally change the terms, principles, and capabilities of the terrains in which they intercede. These prostheses are not without their own agency, as they complicate, transcend, and potentially subvert that position as prostheses for human activity introducing the possibility that human activity may itself be the prosthesis of parametric and algorithmic scripting processes. So it’s with this interrogative perspective that we address the dynamic, epistemological and ontological terrain that is parametricism and asks questions of the ramifications of its complexities upon the present and future of social politics.

2) Manuel Schvartzberg

We framed tonight’s event with the rather vague theme of architecture and politics, parametricism within or beyond liberal democracy. As Matthew already mentioned the cultural discourse of architecture has a troubled relation with politics, having been variously declared over the past century as the harbinger of revolution, the antidote, the false friend or plainly, as the purely practical or autonomous, and in both cases, the allegedly de-politicized practice of the design and making of buildings. The spirit of this event is to try to move the conversation beyond what I would call a double, if antithetical, architectural politics of refusal. Neither do we want to deny architecture’s effect as a political tool – thus isolating it to the pragmatic realm of the market – nor do we believe that the only way to maintain an ethical standard in architecture is to renounce practice all together. Rather we seek to explore the political potentialities, whether they are conscious or unconscious, of this new form of digital architecture, which tonight we are calling parametricism, to see how it might offer new ways of understanding both architecture and politics. Architectural parametricism is enticing as a case study in aesthetics and politics because with its basis on the numerical you can’t but codify the question of the one and the many, or the individual and the collective in many more ways than ever before.

From the masses to social network, from the factory to the cloud, the conditions of life in our post-fordist imaginary can be understood as both enslaving and liberating depending on your point of view. Judith Butler for instance in a conversation with Cornel West just two weeks ago at Columbia University emphasized the role neo-liberal metrics play as a strategic instrument in the fraud cycles of impoverishment and development in capitalist organization. West on his part decried the deodorized discourse of contemporary corporate and also political rhetoric forgetting the body and its unpredictable messiness and its all too often suffering. On the other hand we might think of parametricism as precisely that, as an opportunity to think of a para-metrics – another way of forging relations in the world and therefore another politics. Beyond architecture’s problematic marriage with liberal democracy the parametric is an opportunity to develop a more sophisticated understanding of how different forms of society measure, distribute and design. What would be the metrics and the architecture of other forms of the political beyond liberal democracy? How would political autonomy be translated into form? Or what would be a radical democracy entail for the building industry and an equalitarian architecture at the level of a housing project, a private company, the state or even – returning to the post-fordist paradigm – flows of capital themselves.

De America

06 May, 2011-15 Jul, 2011

Indipendenza Studio, Rome

Systems Analysis

15 Oct, 2010-11 Dec, 2010

West London Projects, London

no images were found

Please visit West London Projects website

Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes

09 Sep, 2010-23 Oct, 2010

Sutton Lane Project, Brussels

Cheyney Thompson
Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes
9 September – 23 October 2010
Sutton Lane, Brussels

Sutton Lane is pleased to present Cheyney Thompson’s fourth solo exhibition at the gallery entitled Motifs, /Robert/, Paul de Casteljau, Socles, Ménarches, Chronochromes. This is his first solo exhibition in Brussels.


In thinking through problems that organize themselves around the terms of painting, it is has become impossible for me to not address the vertical, phallic, modes of signification that condition painting’s legibility (histories of names, its vertical address on the wall, even the very conjunction Painter/Painting seems to indicate a filiation which only resolves itself in so many symbolic deaths). The pedestals are a support for the framing or presentation of the supplemental materials that go into the work’s always potential foreclosure of research. While traversing the signifier /painting/ we come across a potentially elaborate set of possible signifieds, color, identities, collections, supports, types of production, discourses…These pedestals are presenting information which as information can only have a tertiary relationship to the presentation of painting.
But with the pedestals, the information can find its own mode of address by being bound to the singular instance of that which presents (the non-repeating formal iteration of the pedestals). The logic of the forms of the pedestals is simple. I found that a typical pedestal for my needs (of presenting a document) was 3200 square inches. I treated this number as constant and designed 5 pedestals that all have the exact same surface area. In theory the most distinguishing feature of a pedestal (its verticality) could topologically become its opposite (horizontality). The pedestals then retain their nominal function as supports for artifacts while proliferating the mutability of their capacity to signify /pedestal/.


Pas encore.

/Robert Macaire/:

The power of this name does come from its efficacy to symbolize villainy or greed — even if at one point it did exactly that. What I think is more interesting is this name’s ability to deracinate identities that have become naturalized in their reified iterations through technological forms of reproduction and/or legalistic accounts of subjects. Robert Macaire shows all subjects to be shot through with historically determined forces which exceed the subject’s capacity for self-representation or narrativization. In so far as this name is separated from its own rootedness in localized moralization, it can function as a name which unnames, or the signature which de-authorizes any act which claims as natural right the validity and meaningfulness of self-presence.


I refer to these paintings as Chronochromes. This time a more complete version of Munsell’s color system is used. For Munsell color is named according to three descriptive categories (Hue, Saturation, and Value) which result in a complete and asymmetrical color space. For these paintings I grafted the color system onto a calendar. Each day has a complementary hue pair, each hour changes the colors’ value, and each month the saturation changes. Noon is absolute white and midnight is absolute black. This provides a system of producing paintings which would register fatigue, distraction, and interruptions as, in theory, it has the potential to produce a smooth gradient that would represent a continuous flow of time. The gradients, however, are not consistent due to my inability to work at all times every day. The system’s description may or may not aid in an interpretation of the work, because in the end we are left with a sequence of paintings which seem to conform to ideas about a highly subjective and composed abstraction. In other words, even while they may resemble compositional devices that some high formalist may have deployed, they do not signify a fully constituted subject’s ability to reflect on the essential nature of space, being, oneness, etc.
What they do perhaps signify is a first order abstraction in the way that certain values are transposed and structure a laboring subject’s ability to enunciate. In other words, painting is here equated with a kind of wage labor, where time itself, the time of life, has become a discrete set of units, which are countable, and plotted within the support– painting. But of course pictures always say more than they intend, so that even if the paintings are the result of a highly instrumentalized reasoning, they seem to picture a kind of pulsional desire which is rooted in the laboring body, or perhaps the involuntary dilatin of the pupils as they are exposed to more or less light. I could almost say that there is an attempt to locate the affective dimensions of aesthetic experience where the body and consciousness are at their most dominated and instrumentalized.

Another note: The paintings all share the same height, every width is numerically unique. This was motivated by an interest in displacing the function of the frame as the primary determining feature of a picture’s ability to signify within genre forms. Even while certain formats may resemble a historic genre for painting (landscape, portrait), they are constituted by a fundamentally arbitrary cut into an industrial loom’s more or less infinite capacity for production. Typically, this inaugural cut allows for an initial suppression of the types of laboring bodies which produced the linen. There are all sorts of problems with these ideas, that I can foresee, I however could not see a way of avoiding them. In other words I am ambivalent as to whether this aspect of the work which seeks to UNCOVER suppression is not itself held together by even worse suppressions, or that if laying out an infinite list of facts and descriptions PRODUCES anything of critical value, much less the possibility for aesthetic judgement.

Papua New Guinea
This is the site of the famous early study of gender construction by Ian Hogbin entitled, »the Island of Menstruating Men ». He details the practice of subincision, the lateral cutting of the penis, which results in a violent transposition of the vagina on to the penis. This seems to be another way of thinking the interpenetration of the law and the body through mimesis. This could lead to a different conception of Erotic Art. More work to be done.

Paul de Casteljau:
A name within a another name — Pierre Bézier. This is a also a history within a history. One is tragic and one is triumphant. The story of a free curve becoming number and number becoming a control parameter and a control parameter defeating a labor union. It is an origin myth for drawing’s disappearance. See the supplementary material.

Cheyney Thompson lives and works in New York City. He has participated in the 2008 Whitney Biennial; Greater New York (2005); and Clandestine, at The Venice Biennial 2003.


25 Jun, 2010-24 Jul, 2010

Sutton Lane (Campoli Presti), Paris


25 June – 24 July 2010
Sutton Lane Paris

Marcel Broodthaers
Marcel Duchamp
Jutta Koether
Louise Lawler
Man Ray
Josh Smith
Reena Spaulings
Cheyney Thompson

‘The author is the principle of thrift in the proliferation of meaning. As a result, we must entirely reverse the traditional idea of the author. We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations. We are used to thinking that the author is so different from all other men, and so transcendent with regard to all languages that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely.

The truth is quite the contrary: the author is not an indefinite source of significations that fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. […] The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.

All discourses, whatever their status, form, value, and whatever the treatment to which they will be subjected, would then develop in the anonymity of a murmur. We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse? Instead, there would be other questions, like these: What are the modes of existence of this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference:
What difference does it make who is speaking?’

– from What is an author? by Michel Foucault, 1969 –

La Vie mode d’emploi

21 Mar, 2009-02 May, 2009

Sutton Lane (Campoli Presti), Paris

La Vie mode d’emploi
Carl Andre, Martin Barré, Daniel Buren, Liz Deschenes, Sherrie Levine, Cheyney Thompson, Franz West
21 March – 2 May 2009
Sutton Lane, Paris

La Vie mode d’emploi
The Chiasmus: Why is the chiasmus the last great form of truth—the only one we have left?

La Vie mode d’emploi: Percival Bartelbooth, the hero of Perec’s great novel, plans to use up his life, and his fortune, without leaving a trace. Despite lacking any talent, he apprentices himself for ten years to a watercolorist. He then travels the world for twenty years. At each of five hundred ports Bartlebooth paints a watercolor and sends it back to Paris, where it is converted into a puzzle. Bartlebooth returns to Paris, solving the puzzles one-by-one and then shipping each to the location where it had been painted: there, after twenty years, they are dissolved.

The Chiasmus: The more stringent and mechanical the program, the more human does its author, or subject, become: this is Bartlebooth’s truth. As with the dance, so—always—with the dancer: Perec, a most poignant and ethical writer, is famous for only working with the most rigid, stratospheric constraints. La Disparition was written without the letter E. Each chapter in La Vie mode d’emploi simply describes a room in a Parisian apartment block; the reader moves from room-to-room as a knight on a chessboard. Only by way of these most rigorous, elegant systems can Perec tell of Bartlebooth’s rigorous and elegant puzzle, or game, or life; only by disappearing as a writer can he write the truth of our inevitable disappearance.

La Vie mode d’emploi: « Does he have hands? Does he have a face? Then it wasn’t us. » The Chiasmus: Not coincidentally, all this takes place at or by the sea.

David Lewis

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

New Works

18 Mar, 2008-12 Apr, 2008

Sutton Lane (Campoli Presti), Paris

Cheyney Thompson
New Works
March 18-April 12, 2008
Sutton Lane, Paris

Sutton Lane is pleased to present an exhibition of new work by Cheyney Thompson. The four paintings on view, all oil on canvas, form part of a series of works currently on view at the Whitney Biennial in New York City.

This is Thompson’s first solo exhibition in Paris. A reception for the artist will be held on April 7, 6-8 pm.

The two larger paintings in this exhibition, each measuring 70 x 53 inches, are derived from photographic source. They are made from scans, re-framing various details of paintings made for a previous exhibition entitled “Quelques Aspects de l’Art Bourgeois: La Non-Intervention,” at Andrew Kreps Gallery in 2006. These earlier paintings were taken from images of crumpled, blurred, paper that had been scanned and reprinted in black and white. A third painting measuring 24 x 20 inches, shows a grid of sixteen shades of grey representing the various tones of grey used in this initial process.

Thompson further explores the possibilities and variations open to painting in the forth 24 x 20 inch work in this exhibition. Representing a detail of the shirt sleeve from a formal portrait of the artist’s studio landlord, this piece is generated from part of a larger body of work titled “The End of Rent Control and the Emergence of the Creative Class,” shown at Daniel Buchholz Gallery in Cologne in 2006. These paintings were made using the color scheme CMYK, typical of most color printers. The fourth painting presented in this exhibition was made using CMK, leaving the yellow (Y) out of the composition.

Whether a change in detail or color scheme, these variations open up the possibilities for painting and image. They relate directly to Cheyney Thompson’s analytical approach to formal painting with particular interest in modes of production and means of distribution within a marketplace.

Cheyney Thompson lives and works in New York City. He has participated in exhibitions including the 2008 Whitney Biennial; Art Premiere: Art Basel, 2007; Greater New York (2005); and Clandestine, at The Venice Biennial 2003.

New Works by Cheyney Thompson will remain on view through April 12, 2008. For more information please contact the gallery at or

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Caisse Blanche

24 Nov, 2007-22 Dec, 2007

Sutton Lane

Sean Paul & Cheyney Thompson
Caisse Blanche

A propos…
De la rue de Braque, de la communication et des relations de Presse

de Jasper Morrison
de Sutton Lane
de Paris
de Basel
de la ratio de 3 sur 4
de l’édition photographique de 16mm gravé sur DVD
de la communication et des relations de l’espace privée

Art / 38 / Basel Premiere: Sean Paul, Cheyney Thompson

15 Jun, 2007-20 Jun, 2007


For the People of Paris

13 Jan, 2007-10 Feb, 2007

Sutton Lane (Campoli Presti), London


15 Nov, 2005-17 Dec, 2005

Sutton Lane (Campoli Presti), Paris

Cheyney Thompson / Eileen Quinlan
15 November – 17 December 2005

Sutton Lane is pleased to announce the first two person exhibition of American artists Cheyney Thompson and Eileen Quinlan in Paris.

“At least one charming thing about the human institution of marriage is that although a man may marry, he can never be only a husband. Besides being a money-making device and the one man one woman can sleep with in legal purity without sin, he may as well be some other woman’s very personification of her abstract idea.
And though a woman may marry, she can never be only a wife. Besides being a home-making device and the one woman one man can sleep with in legal purity without sin, she may also be some other man’s very personification of his most licentious desire.
While to their employees, the married couple are nothing but “bosses,” and to their children, nothing but “parents,” each to themselves something certainly more complex.
With all this said, it remains to be seen in the marriage of objects to ideas, whether or not this meticulous monogamy survives representation.”
– Louise Norton on Remy de Gourmont.

Cheyney Thompson born in 1975 in Baton Rouge, LA, USA, lives and works in New York. Group exhibitions include Transmission Gallery, Glasgow, “Clandestine” at the Venice Biennale (2003), ‘Greater New York’ at P.S.1 Contemporary Art Center, New York. Solo exhibitions include the Cheekwood Museum of Art, Nashville, USA and last year’s ART BASEL Statements. Cheyney Thompson will have a two-person exhibition with Eileen Quinlan at Sutton Lane, Paris, this November.

Eileen Quinlan was born in 1972 in Boston, USA and lives and works in New York. She graduated with an MFA from Columbia University, New York in 2005. Group exhibitions include White Columns, New York and Andrew Kreps Gallery, New York. Eileen Quinlan will have a two-person exhibition with Cheyney Thompson at Sutton Lane, Paris, this November.


17 Oct, 2003-21 Nov, 2003

Sutton Lane (Campoli Presti), London

Cheyney Thompson
17 October – 21 November 2003

For his first solo exhibition in London, Cheyney Thompson has created a panoramic installation of 60 paintings that continues his investigations on the possibility of history painting.

In 1816, Gericault found in the headlines of the newspaper a subject for a large scale history painting. Through a rather obsessive studio practice, he was able to frame an event which could function as a cipher for political commentary and romantic idealism.

It was, at the time, impossible to look at the sufferers in the painting without also seeing the neglect and corruption of the French government officials who had abandoned them to their fate. The painting found its position as a wedge, somewhere between the account from Correard and Savigny, public debate, and the private fantasy of the studio painter.

The artist states: “In light of the present political situation in America with its own colonial mismanagement, I wanted to rethink the Raft of the Medusa. Despite the corruption, complicity, and untold suffering in the present military operations, there is no singular image which is capable of redeeming us, no image which can function to allow us to recognize ourselves in history. These paintings, at best, constitute a better failed image of the historical present than the typical representation of our current catastrophe. The intention, stated explicitly, was to make a painting which functions as a backdrop for the historical drama it is itself enacting.”

Cheyney Thompson lives and works in New York. His work has been included in the Venice Biennale. He has had a solo exhibition at Andrew Kreps Gallery, New York.