Torey Thornton: Subdominium Edges Y Assumed Legalities

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4-8 Helmet Row, EC1V 3QJ, London, UK
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Torey Thornton: Subdominium Edges Y Assumed Legalities

London

Torey Thornton: Subdominium Edges Y Assumed Legalities
to Sat 25 Jan 2020
Wed-Sat noon-5pm

Artworks


Resting Halt, 2019
Pork blood, acrylic medium and galvanized steel mending plates on wooden butcher block
143 x 142.5 x 5.8 cm, 56 1/4 x 56 1/8 x 2 1/4 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Whole Glory, 2014 -2019
Glue, cardboard, wood panel
111 x 139 x 6.5 cm, 43 3/4 x 54 3/4 x 2 1/2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Support Extrusion (remember the eyelid trick), 2019
Acrylic paint, wood, aluminum wall stud
309 x 4.5 x 5 cm, 121 5/8 x 1 3/4 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Whose Authorship In Living Denied Expression, 2019
Non drying anti-climb paint on baby grand piano lid
170 x 195 x 2 cm, 66 7/8 x 76 3/4 x 3/4 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Isolation from fallen halt and intelligence in mirroring (remember Allen), 2019
Aluminum protective enamel paint and spray paint on wood panel
156 x 218 x 6.5 cm, 61 3/8 x 85 7/8 x 2 1/2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Unused Passport Portraits of My Adopted Children Chromakey and Mirrors, 2019
Acrylic paint, aluminum enamel paint and galvanized steel mending plates on wood panel
201 x 163 x 5 cm, 79 1/8 x 64 1/8 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Beginning Similarities For Sensorial Labor, Nerves aside, The Same, 2019
Wooden paint stick on straw hat
81 x 60 x 11 cm, 31 7/8 x 23 5/8 x 4 3/8 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Masked Foundational Issues On Mass Microscopic Level (XY Coordinates Doomed On Entry), 2019
Acrylic paint and spray paint on wood panel
217 x 245 x 5 cm, 85 3/8 x 96 1/2 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Sensorial Censor, 2019
Acrylic paint on wood panel
75 x 268 x 5 cm, 29 1/2 x 105 1/2 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Exercise In Unified Fear And Necessity (Visceral Codec), 2019
Acrylic paint and metallic paint on wood panel
134.6 x 218.4 x 5 cm, 53 x 86 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Hang m(w)a(O)n(man), 2019
Paint, Clear Diamond Finish and altered Citroen bumper badge on aluminum
250 x 133 x 6.5 cm, 98 3/8 x 52 3/8 x 2 1/2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Untitled Political Aliens (Top Fifty U.S. Babies 2018 Gender Mashed To Make My New), 2018
Acrylic paint, sharpie and graphite on cardboard
325 x 245 cm, 128 x 96 1/2 ins.
Photo: Lance Brewer. © the artist. Courtesy the artist & Modern Art, London

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Swatched Class Act, 2019
Wood glue, epoxy and potting soil, Bondo auto body filler spray and acrylic paints on CNC routed MDF coated with FR polyuria, primed and sprayed white
120 x 120 x 10 cm, 47 1/4 x 47 1/4 x 4 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Dime A Dozen Fluidity Culture, As Bacteria, Versus Taste Culture (PP1 of 10 FPS), 2019
Gouache plastic pallet inside white gold leafed wood panel
135 x 218.5 x 5 cm, 53 1/8 x 86 1/8 x 2 ins.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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Labor Cont(r)act, 2019
Spray paint on wall (unique)
Dimensions variable.
Photo: Ben Westoby. © the artist. Courtesy the artist & Modern Art, London

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I’ve never known whether to collaborate with someone on a text, have them write something for me that won’t stand in or hold up the work, but gets near it without blowing the surprise or the slower arrival. Patience and sensitivity.

How honest should a press release be, transparent. There are mouths that water for writing as the strengthener to an artwork or show, the hardening component in the mixture, historicizing it, firming it. Is a body of work stronger when it’s fully explained and squeezed out? Wrung? We have been taught that explanation, speaking, telling, writing equates to a presentation of knowledge and cultural wealth, so at every turn there’s the need for the hand hold or at least the mirroring of ideas in order to prove or match. Although, some are privileged to rarely have to speak, maybe they never explain their work and yet they are held and coddled into importance and praise. Who are these people and why? I have thoughts but maybe this question should be looked at closer in the free time.

Shaping, a term attached to paintings around the early 1960s who’s supports moved outside of the traditional rectangular format, maybe a quite boring term. Maybe it should have been irregular shaping? Extrusion? I thought that I was working in and against this space for this show but really I have little interest that overlaps with shaping just as I have even less concern or relation to the term abstraction. Maybe, if I’m clearer, I have no interest in the term abstraction and the fetish of the non- reference, the romantic island of paint, in relation to my work. While discussing these ideas with a friend I realized that I do relate more to the term nonrepresentational art but that’s also not quite it as this still doesn’t allow for certain content to creep in and swell the work, if need be. But naming is boring anyways in that regard, content, context and presence in space and time are more fun and complicated versus an umbrella term for capitalistic and historical ease. I hope that thought towards naming is me mentioning something that we all know.

Thursday September 26, 2019 at 4:34am EST I think to myself, in a pre-sleep state, is the cross somehow the most common shaped painting worldwide?

Best, sincerely, yours, as ever, thanks to everyone for looking at these works here in the space and considering the various locations they live in at once.

Torey Thornton was born in 1990 in Macon, GA, USA and lives and works in Brooklyn, New York, NY, USA. In 2012 they completed a BFA at the Cooper Union, New York, NY, USA. Thornton’s work has been included in group exhibitions at Whitney Museum of American Art, New York, NY, USA (2018 & 2017); Carnegie Museum of Art, Pittsburgh, PA, USA (2018); Birmingham Museum of Art, Birmingham, AL, USA and Hammer Museum, Los Angeles, CA, USA (both 2017) and The Studio Museum in Harlem, New York, NY, USA (2015). Thornton was included in the 2017 Whitney Biennial and in 2015 their work was the subject of a solo exhibition at the Albright-Knox Gallery, Buffalo, NY, USA.

Torey Thornton, Subdominium Edges Y Assumed Legalities, exhibition view, Modern Art, Helmet Row, London, 25 October 2019 - 1 February 2020. Photo: Ben Westoby. Courtesy the artist & Modern Art, London


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