For the exhibition at Ordet, Thompson has introduced four sweeping arcs of bright red, yellow, green, and blue that are sprayed onto the white ground. They appear as distinctly colored lights illuminating each painting, one arc per corner. He treats color as both a sensual material and an organizing strategy.
Cheyney Thompson investigates the systems that inform the production, distribution, and exhibition of painting and the adjacent subjects that may cohere around artworks—mathematics, history, biology, and political economy. By imposing rigorous constraints on his painting practice, Thompson underlines the governing structures within which all contemporary art must unfold. In this corpus of work, the “artist” emerges less as a myth of the administered life than as a specter, felt or sensed as a body just outside the frame or an orienting bundle of intentions and intelligence that cuts a path through overlapping orders of abstraction.