Cheyney Thompson, a painter known for abstractions that seem to blur the line between the handmade and the mass produced, has joined the roster of Lisson Gallery, which has spaces in New York, London, and Shanghai.
Lisson is among the most prominent galleries in New York, representing artists such as Marina Abramović, Ai Weiwei, Carmen Herrera, Sean Scully, and Stanley Whitney. And, in a somewhat unconventional arrangement, Thompson will continue to be represented by his longtime New York gallery, Andrew Kreps, which will co-organize a two-venue show of the artist’s work at its Tribeca space and Lisson’s Chelsea location.
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“It’s definitely not common,” dealer Andrew Kreps said of the arrangement, speaking by Zoom. “We’ve decided to really create this huge platform to give people a real think about what Cheyney has been doing for the past 20 years.”
“If we do this, we want to do something that no one can ignore,” added Alex Logsdail, executive director of Lisson Gallery.
Thompson is often associated with a style that involves the usage of rigorous frameworks—grids, mathematical systems, algorithms, and more—that are then subverted. In certain paintings, neat rows are interrupted by warp-like pulls of paint; other works play on printing technologies and make use of blown-up portions from his past works. Over the past decade, his work has been featured in shows at the Kitchen in New York, the MIT List Visual Arts Center in Cambridge, Massachusetts, and the Whitney Museum in New York.
“Cheyney sits somewhere interesting between being a classical painter and a conceptual artist,” Logsdail said. “The work has serious conceptual rigor while being quite playful.”