Cheyney Thompson’s practice is centered on an inquiry into the production, distribution, and exhibition of painting. His projects, which often span several years, impose structures and constraints onto the making of his work. These limitations are in turn generative, resulting in exhaustive investigations into the medium of painting and the problems that surround it. Tying his works to mathematical and economic formulas, his own labor as an artist, and the architecture that his paintings occupy, Thompson enacts a tension between their formal qualities, and the larger systems of circulation they inhabit.
In 2017, Thompson’s work was the subject of an exhibition at The Brno House of Arts, Brno, Czechia, with Sam Lewitt. Solo exhibitions of Thompon include Cheyney Thompson The Completed Reference: Pedestals and Drunken Walks, Kunstverein Braunschweig; and Cheyney Thompson: metric, pedestal, landlord, cabengo, recit, curated by João Ribas, MIT Visual Arts Center, Cambridge. His work has additionally been included in numerous group exhibitions, including Invisible Adversaries: Marieluise Hessel Collection, Hessel Museum of Art, Bard College, Annandale-on-Hudson; Money, Good and Evil: A Visual History of Economics, Staatliche Kunsthalle, Baden-Baden; A Slow Succession with Many Interruptions, SFMOMA; Materials and Money and Crisis, Museum Moderner Kunst, Vienna; the 2008 Whitney Biennial, Whitney Museum of American Art, New York, among others. Thompson’s work is held in the permanent collections of the Centre Pompidou, Paris; The Whitney Museum of American Art, New York; SFMoMA, San Francisco; and the Museum of Modern Art, New York.
[excerpted from Andrew Kreps Gallery website: www.andrewkreps.com]