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 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
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.