Seven ForeversWilder Alison, Lucy Lord Campana, Natasha Conway,
Ketta Ioannidou, Jin Jeong, Kate McQuillen, Margaux Ogden
July 29 - August 27, 2021
Thierry Goldberg is pleased to present Seven Forevers, a group exhibition of works by Wilder Alison, Lucy Lord Campana, Natasha Conway, Ketta Ioannidou, Jin Jeong, Kate McQuillen, and Margaux Ogden. The exhibition runs from July 29th through August 27th, 2021.
Seven Forevers brings together seven artists who experiment with wide-ranging methods of abstraction in painting. They not only paint, but peel, drag, fold, cut, drape, and soak the materials with which they work, traversing disciplines and expanding the definitions that distinguish one genre from another.
Wilder Alison has developed a unique process of soaking and dyeing wool blankets before cutting, reconfiguring, and sewing them into new compositions. The exact outcome is impossible to predict, as slight variations in the amount of dye or the movement of liquid can alter the tone and texture of each work. Alison thus creates tension between order and chaos, contrasting sharp, geometric shapes against soft, blurred hues. The artist’s latest body of work is presented in sets of two or three panels, displayed side by side. While their individual elements are derived from the same source, the works appear glitched or distorted, generating a sense of movement from one panel to the next.
Lucy Lord Campana draws upon scientific references to create her sprawling, tactile works. Inspired by imagery from the Hubble Space Telescope, the artist forms energetic patterns using dotted clusters of paint. Campana’s works recall the technicality of Pointillism while harkening toward something more psychedelic and ethereal. In The Core of Peculiar Galaxy Arp 220, A Spiral Amongst Friends/NGC 4680 (view 1) (2020-21) and The Core of Peculiar Galaxy Arp 220, A Spiral Amongst Friends/NGC 4680 (view 2) (2020-21), geometric compositions of yellow and orange seem to float atop molten backgrounds of purple and blue; while The Inky Abyss/NGC 2022, View from Brooklyn--Ninety Degrees (2019-21) remains tightly packed within a grid. Vivid colors twist and turn, like particles dissolving into thin air.
Natasha Conway takes a playful approach to her practice. Working intuitively, she mixes, smears, and drags thick globs of paint across neutral or loosely patterned backgrounds. This spontaneity requires Conway to be present throughout her process, allowing each gesture to unfold organically. Conway is particularly interested in the language of abstraction. Rather than delineating a clear, narrative structure, the artist approaches painting as a poetic expression of everyday life. Each brushstroke serves as a visual cue or shorthand notation for a specific experience within the artist’s emotional landscape.
Ketta Ioannidou invokes the mirage-like tendencies of Impressionism, blending and softening the edges of each brushstroke until they appear liquid. In Black Spring (2021) and TARDIS_Time And Relative Dimension In Space (2020), Ioannidou imbues vibrant tones of teal, green, and purple with darker notes of black and navy blue. The paint streams in a distinctly vertical or inward motion, pulling our gaze along with it. In Morning Fog (2019) and Black Rainbows (2019), the outlines of each brushstroke are even less defined. Instead, delicate flurries of color appear to wash over each canvas, evoking the temperate rainfall of early spring.
Jin Jeong’s paintings are bright and energetic. The artist opts for broad strokes and rounded forms, with blocks of color overlapping and pressing up against one another. In Fancy Fancy during a Critique(2019) and Hazelnut Americano in every time (2021), the artist distinguishes each form with thin, sharp edges of various colors. In Taking rest in a crowded space (2021) and In a Snug Place (2021), the brushstrokes appear slightly more dispersed, rippling outward as though the artist were tracing an object’s movements over time.
Kate McQuillen combines painting, watercolor, and printmaking techniques to achieve the sublime quality in her work. The artist passes paint through a screen to create sheer layers of gradient tones, like an image in the process of being exposed. These layers are particularly visible in Seven Forevers (2020) and Signal Batman (2020). In the former, spots of gray light emerge from a yellowy darkness, accented by blotches of cerulean blue; while in the latter, sheets of pale yellow and pink form a greenish glaze over the waves of obsidian below. We can see where McQuillen has stopped pulling paint through her screen, allowing jagged edges of excess paint to trail off on their own.
Margaux Ogden’s recent body of work signals a slight departure from her previous paintings – or perhaps a return to something elemental within her practice. The artist’s characteristically thin and precise lines have given way to wide, open strokes. Her pale, monochromatic palettes are now replaced by bold orange, fuchsia, and periwinkle blue. Throughout the pandemic, Ogden experimented with small-scale paintings and collaged prints, and Untitled (Blue) (2021) and Untitled (Red and purple) (2021) bear the traces of these minimalist explorations. Large forms take over much of the canvas, as though the artist has cropped and enlarged geometric fragments from her earlier works.
Wilder Alison (b. 1986, Burlington, Vermont) lives and works in New York, NY. Alison holds an MFA in Painting and a BA from Bard College. Alison has a forthcoming solo exhibition at Gaa Gallery, Provincetown, MA, and has had previous solo exhibitions at White Columns, New York, NY; Hudson D. Walker Gallery, Provincetown, MA; and Marlboro College, Marlboro, VT. Alison has participated in group exhibitions at Parker Gallery, Los Angeles, CA; White Columns, Miami, FL; SUBLIMATION Projects, New York, NY; FIERMAN, New York, NY; Provincetown Art Association & Museum, Provincetown, MA; CUE Art Foundation, New York, NY; Life Lessons, Far Rockaway, NY; and 247365, New York, NY, amongst others.
Lucy Lord Campana (b. 1987, Boston, MA) lives and works in New York, NY. Campana holds an MFA from Columbia University and a BFA from Rhode Island School of Design. Campana has a forthcoming solo exhibition at Saint George Street, London, UK, and has participated in group exhibitions at Project Gallery V; the plumb, Toronto, Canada; DDC, New York, NY; Y2K group, New York, NY; False Flag Projects, New York, NY; Secret Dungeon, Brooklyn, NY; and Human Resources, Los Angeles, CA.
Natasha Conway (b. 1984, Kildare, Ireland) lives and works in Dublin, Ireland. Conway holds an MFA and a BA (Honours) in Painting from the National College of Art and Design in Dublin. Conway has had a solo exhibition at Pallas Projects, Dublin, Ireland, and has participated in group exhibitions at The Courthouse Gallery, Ennistymon, Ireland; MART Gallery and Studios, Dublin, Ireland; RHA Gallery, Dublin, Ireland; Lumen Arts Center, London, UK; Thomas Erben Gallery, New York, NY; Jerwood Space, London, UK; and The A Foundation, London, UK.
Ketta Ioannidou (b. 1974, Nicosia, Cyprus) lives and works in New York, NY. Ioannidou holds an MFA from School of Visual Arts and a BA (Honours) from Central Saint Martins College of Art and Design. Ioannidou represented Cyprus in the Cairo and Alexandria Biennales in Egypt and the 18th Asian Biennale in Bangladesh. She has had solo exhibitions at The Yard, Brooklyn, NY; South Oxford Space, Brooklyn, NY; Diatopos Centre of Contemporary Art, Nicosia, Cyprus; chashama 266, New York, NY; and The Centre of Contemporary Art Diatopos, Nicosia, Cyprus. Ioannidou has participated in recent group exhibitions at Superchief Gallery NFT, New York, NY; Local Project Art Space / Departure Studio Gallery, Long Island City, NY; KUSTERA PROJECTS RED HOOK, Brooklyn, NY; Cigar Factory, Long Island City, NY; and Knockdown Center, Queens, NY.
Jin Jeong (b. 1993, Seoul, South Korea) lives and works in New York, NY. Jeong holds a BFA in Painting and Drawing from School of the Art Institute of Chicago, and is currently pursuing an MFA in Painting at Hunter College. Jeong has had solo exhibitions at FAS, Seoul, South Korea; WWW SPACE, Seoul, South Korea; Art Works Paris Seoul, Seoul, South Korea; and Green Door, Chicago, IL. She has participated in group exhibitions at M Street Gallery, Jersey City, NJ; Downing St, Brooklyn, NY; Young Space, Hortonville, WI; 33 ORCHARD, New York, NY; KCC Art Gallery, Wheeling, IL; and Hidden M Gallery, Seoul, South Korea.
Kate McQuillen (b. 1979, Boston, MA) lives and works in New York, NY. McQuillen holds an MFA in Printmedia from York University and a BFA (Honors) in Printmaking from Massachusetts College of Art and Design. She has had recent solo exhibitions at Massey Klein Gallery, New York, NY; Deanna Evans Projects, New York, NY; Ace Hotel Chicago, Chicago, IL; Super Dutchess, New York, NY; Goldfinch Gallery, Chicago, IL; The Comfort Station, Chicago, IL; and Spudnik Press, Chicago, IL. McQuillen has participated in group exhibitions at Coherent, Brussels, Belgium; Left Field Gallery, Los Osos, CA; Monaco Gallery, St. Louis, MO; IPCNY, New York, NY; Survival Kit Gallery, Cleveland, OH; and Riverside Arts Center, Riverside, IL, amongst others.
Margaux Ogden (b. 1983, Boston, MA) lives and works in Brooklyn, NY. She holds an MFA in Painting from Boston University, a Post-Baccalaureate in Fine Arts from Brandeis University, and a BA from Bard College. Ogden has had solo exhibitions at Rental Gallery, East Hampton, NY; Embajada, San Juan, Puerto Rico; ltd los angeles, Los Angeles, CA; and Freight & Volume, New York, NY. She has participated in recent group exhibitions at Left Field Gallery, Los Osos, CA; Hollis Taggart, New York, NY; Morgan Lehman Gallery, New York, NY; Peninsula Art Space, Brooklyn, NY; Joannes Vogt, East Hampton, NY; Tops Gallery, Memphis, TN; Horse and Pony, Berlin, Germany; and Trestle Gallery, Brooklyn, NY, amongst others.
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