Cheyney Thompson continues his Displacement series of paintings, each of which also begins life as a homage to the standardized grid. After laying down this regimented ground, a series of custom-made silicon tools are employed to disrupt the still-wet, gridded surface and impose the abstracting, chaotic force of the artist’s interventions. Making drags and smears across the surfaces of these works, as though swiping a hand across a screen or tablet, Thompson rearranges the five-millimeter, pixelesque black squares into glitched, attenuated forms, stretching and bending the grid back through and beyond itself into three and perhaps four dimensions, if you allow for the passage of time through these spaces.

Cheyney Thompson continues his Displacement series of paintings, each of which also begins life as a homage to the standardized grid. After laying down this regimented ground, a series of custom-made silicon tools are employed to disrupt the still-wet, gridded surface and impose the abstracting, chaotic force of the artist’s interventions. Making drags and smears across the surfaces of these works, as though swiping a hand across a screen or tablet, Thompson rearranges the five-millimeter, pixelesque black squares into glitched, attenuated forms, stretching and bending the grid back through and beyond itself into three and perhaps four dimensions, if you allow for the passage of time through these spaces.

Cheyney Thompson continues his Displacement series of paintings, each of which also begins life as a homage to the standardized grid. After laying down this regimented ground, a series of custom-made silicon tools are employed to disrupt the still-wet, gridded surface and impose the abstracting, chaotic force of the artist’s interventions. Making drags and smears across the surfaces of these works, as though swiping a hand across a screen or tablet, Thompson rearranges the five-millimeter, pixelesque black squares into glitched, attenuated forms, stretching and bending the grid back through and beyond itself into three and perhaps four dimensions, if you allow for the passage of time through these spaces.