White Columns Online:
The Position of the Sun in the Sky
curated by Bridget Finn

April 15–June 7, 2021
Al Wong Together We Stand, 2020 Polyester and sunlight 66 × 48 in. Courtesy of the artist. (Three vertical, pleated white fabric objects stand side by side in front of a partially drawn, sun drenched window shade. The window shade casts horizontal designs across the fabric.)
Al Wong
Together We Stand, 2020
Polyester and sunlight
66 × 48 in.
Courtesy of the artist.

 

Al Wong Light is Up, 2016 Color photographs 96 × 12 in. Courtesy of the artist. (Eight vertically aligned photographic prints of a hand holding a lit candle are mounted to a white wall in varying rotations.)

Al Wong
Light is Up, 2016
Color photographs
96 × 12 in.
Courtesy of the artist.

Al Wong Self Portrait, 2016 Color photographs 36 × 48 in. Courtesy of the artist. (Several photographs of a person holding a camera and taking self portraits in a circular mirror from different angles. The photos are arranged to maintain the shape of the mirror.)

Al Wong
Self Portrait, 2016
Color photographs
36 × 48 in.
Courtesy of the artist.

Fadi al-Hamwi Irrational Loop of Dust, 2016 Cement 55 x 31.5 x 3.5 in. Courtesy of the artist. (A cement sculpture imitating a door mat laying flat with its right edge folded over itself.)

Fadi al-Hamwi

Irrational Loop of Dust, 2016

Cement

55 × 31.5 × 3.5 in.

Courtesy of the artist.

Fadi al-Hamwi Dysfunction, 2016 Cement, hair 6 x 4 x 0.8 in. Courtesy of the artist. (A close up of a small, chipped cement block. Brown hairs extend from its surface.)

Fadi al-Hamwi

Dysfunction, 2016

Cement, hair

6 × 4 × 0.8 in.

Courtesy of the artist.

Hannah Leighton-Boyce Persistent Bodies (Detail), 2018 Salt, ceramic, steel core Variable. 6.3-7.9 × 15.7-17.7 in. Courtesy of the artist and The University of Salford Art Collection. (Three slightly deformed gray cylindrical objects lie on the ground. Each has a pipe passing through it.)

Hannah Leighton-Boyce
Persistent Bodies (Detail), 2018
Salt, ceramic, steel core
Variable. 6.3-7.9 × 15.7-17.7 in.
Courtesy of the artist and The University of Salford Art Collection.

Hannah Leighton-Boyce Down, through, and back again, 2019 Copper Site-specific work. 47 × 47 in. Courtesy of the artist. (Rectangular pieces of copper arranged in a circular shape along a hardwood floor so as to imitate the patterning of the wood. They cast a bright reflection onto a white wall.)

Hannah Leighton-Boyce
Down, through, and back again, 2019
Copper
Site-specific work. 47 × 47 in.
Courtesy of the artist.

Jesse Stecklow Untitled (10:19:30), 2014 Clock parts, clock guard, Carbograph 5 air sampler Courtesy of the artist. (A clock mounted on a wall behind an octagonal metal grill. Its glass is translucent, and three small plastic tubes extend from it.)

Jesse Stecklow
Untitled (10:19:30), 2014
Clock parts, clock guard, Carbograph 5 air sampler
Courtesy of the artist.

Jesse Stecklow Trios (Installation view), Hudson, 2014 Fly tape Courtesy of the artist. (A fly catching ribbon hung from a ceiling hook beside a fluorescent light.)

Jesse Stecklow
Trios (Installation view), Hudson, 2014
Fly tape
Courtesy of the artist.

Kylie Lockwood Becoming a Sculpture, 2019 Porcelain, unfired clay, steel and nail polish Dimensions variable Courtesy of the artist and Simone DeSousa Gallery. (Five figurative porcelain sculptures depicting different postures of a nude body.)

Kylie Lockwood
Becoming a Sculpture, 2019
Porcelain, unfired clay, steel and nail polish
Dimensions variable
Courtesy of the artist and Simone DeSousa Gallery.

Kylie Lockwood Becoming a Sculpture (Image 6), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A person molding porcelain around their left leg. Above them several black and white printed images of a nude sculpture are posted.)

Kylie Lockwood
Becoming a Sculpture (Image 6), 2019
Archival inkjet print and tape
16 × 12 in.
Courtesy of the artist and Simone DeSousa Gallery.

Kylie Lockwood Becoming a Sculpture (Image 7), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A mirror image photograph of a person molding porcelain around their left leg. They are on a table and are supporting their weight with a clay block.)

Kylie Lockwood
Becoming a Sculpture (Image 7), 2019
Archival inkjet print and tape
16 × 12 in.
Courtesy of the artist and Simone DeSousa Gallery.

Liz Linden signs (Atlanta), 2014 One live phalaenopsis orchid, one fake phalaenopsis orchid Dimensions variable Courtesy of the artist. (Two identical potted orchid plants on gray pedestals underneath a spotlight.)

Liz Linden
signs (Atlanta), 2014
One live phalaenopsis orchid, one fake phalaenopsis orchid
Dimensions variable
Courtesy of the artist.

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets (Installation view), 2017 Wallpaper, soil, lavender, fluorescent lights Dimensions variable Courtesy of the artist. (Four children exploring an indoor space filled with soil and rows of lavender crop. The walls depict a forest landscape and fluorescent lights hang from the ceiling.)

Martin Roth
In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets (Installation view), 2017
Wallpaper, soil, lavender, fluorescent lights
Dimensions variable
Courtesy of the artist.

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (A bright yellow ethernet cable plugged into a wall covered with a leafy decal.)
Martin Roth
In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. (Detail), 2015
Debris, rescued parakeets, frogs, recorded sound
Dimensions variable
Courtesy of the artist.
Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Installation view), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Debris covering a gallery floor. Small, colorful birds fly around the space. Further back, two people can be seen talking.)
Martin Roth
In July 2015 I shipped debris from the Syrian border to use as bird litter. (Installation view), 2015
Debris, rescued parakeets, frogs, recorded sound
Dimensions variable
Courtesy of the artist.
Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Eighteen colorful birds perch on white painted wires near lights and ceiling fixtures.)
Martin Roth
In July 2015 I shipped debris from the Syrian border to use as bird litter. (Detail), 2015
Debris, rescued parakeets, frogs, recorded sound
Dimensions variable
Courtesy of the artist.
Robert Rhee Occupations of Uninhabited Space / Year Six / CHMP, 2018 Cultivated gourd, mild steel 10.25 × 9 × 9.5 in. Courtesy of the artist. (A golden-brown sculpture in an abstract and organic shape bound with metal sits in a well-lit square recess in a wall.)

Robert Rhee
Occupations of Uninhabited Space / Year Six / CHMP, 2018
Cultivated gourd, mild steel
10.25 × 9 × 9.5 in.
Courtesy of the artist.

Robert Rhee Frieze (fragment), 2016 Gourd-shards, dowels, staples, copper wire 19 × 13.5 × 9 in. Courtesy of the artist. (A shattered and stapled gourd sits in a square recess in a wall.)

Robert Rhee
Frieze (fragment), 2016
Gourd-shards, dowels, staples, copper wire
19 × 13.5 × 9 in.
Courtesy of the artist.

Robert Rhee Untitled, 2018 Mild steel, cultivated gourd 2.5 × 2.5 x 8 in. (Left) 9.5 × 7 × 9.5 in. (Right) Courtesy of the artist. (Two objects sit in a well-lit rectangular recess. The object on the right appears to be a deformed, topless gourd, bound with metal. The object on the left appears to be the missing top.)

Robert Rhee
Untitled, 2018
Mild steel, cultivated gourd
2.5 × 2.5 × 8 in. (Left)
9.5 × 7 × 9.5 in. (Right)
Courtesy of the artist.

Ryo Tomoda Chinatown 3/23 – 6/17, 2020 Found objects, fishing lines, wall pins Dimensions variable Courtesy of the artist. (Ceiling installation with lighting fixture, a pack of Newports, loose paper, a feather, debris and miscellaneous objects.)

Ryo Tomoda
Chinatown 3/23 – 6/17, 2020
Found objects, fishing lines, wall pins
Dimensions variable
Courtesy of the artist.

 

Ryo Tomoda McKinlock Room-Western Art Section, Heritage Museum of Asian Art, 2020 Sumi ink on paper, marker on plastic bags Dimensions variable Courtesy of the artist. (Wind-inflated plastic bags hanging from a pole between two buildings. Two bags have markings resembling flags.)

Ryo Tomoda
McKinlock Room-Western Art Section, Heritage Museum of Asian Art, 2020
Sumi ink on paper, marker on plastic bags
Dimensions variable
Courtesy of the artist.

Ryo Tomoda A Set within, 2020 Hair bands, metal pins 80 × 70 × 5 in. Courtesy of the artist.(Hair bands of different sizes and thicknesses installed on a white wall in the shape of an oval.)

Ryo Tomoda
A Set within, 2020
Hair bands, metal pins
80 × 70 × 5 in.
Courtesy of the artist.

Participating Artists

Fadi al-Hamwi
Hannah Leighton-Boyce
Liz Linden
Kylie Lockwood
Robert Rhee
Martin Roth
Jesse Stecklow
Ryo Tomoda
Al Wong

Exhibition Description

I feel it safe to say that for most of us, our temporal perception has shifted. Digesting time has become difficult, a challenge at best. In 2021, days drag, each one blending into the next while months are flying by. Each passing day is marked by monumental, global change, some positive, most rather terrifying. All very hard to track in a linear, time-based fashion. Our internal clocks are fighting to keep up.

Each artist included in The Position of the Sun in the Sky are keeping time. They are creating records, collecting information/data through various modes and materials. The works exists as documents of their respective findings presented to the viewer as a poetic measurement of a lived experience.

Bridget Finn is Partner at Reyes | Finn, a contemporary art gallery in Detroit, MI. She is also co-founder of Art Mile | Detroit, a citywide digital art exhibition that champions Detroit’s vibrant and diverse arts community. Prior to 2017 she was Director at Mitchell-Innes & Nash, NY. She is also the former Director of Strategic Planning & ICI Projects at Independent Curators International (ICI.) She is co-founder/curator of Cleopatra’s, an art space located in Greenpoint, Brooklyn that was active from 2008-2018. Cleopatra’s realized hundreds of projects with artist’s during its ten year span. Bridget received her BFA from The College for Creative Studies in Detroit, Michigan. She is active on The Board of Trustees of Independent Curators International (ICI) and New Art Dealers Alliance (NADA).

This exhibition is the sixteenth in a series of online exhibitions; this exhibition was curated from White Columns’ Artist Registry.

For more information: registry.whitecolumns.org

Al Wong Together We Stand, 2020 Polyester and sunlight 66 × 48 in. Courtesy of the artist. (Three vertical, pleated white fabric objects stand side by side in front of a partially drawn, sun drenched window shade. The window shade casts horizontal designs across the fabric.)
Al Wong Light is Up, 2016 Color photographs 96 × 12 in. Courtesy of the artist. (Eight vertically aligned photographic prints of a hand holding a lit candle are mounted to a white wall in varying rotations.)
Al Wong Self Portrait, 2016 Color photographs 36 × 48 in. Courtesy of the artist. (Several photographs of a person holding a camera and taking self portraits in a circular mirror from different angles. The photos are arranged to maintain the shape of the mirror.)
Fadi al-Hamwi Irrational Loop of Dust, 2016 Cement 55 x 31.5 x 3.5 in. Courtesy of the artist. (A cement sculpture imitating a door mat laying flat with its right edge folded over itself.)
Fadi al-Hamwi Dysfunction, 2016 Cement, hair 6 x 4 x 0.8 in. Courtesy of the artist. (A close up of a small, chipped cement block. Brown hairs extend from its surface.)
Hannah Leighton-Boyce Persistent Bodies (Detail), 2018 Salt, ceramic, steel core Variable. 6.3-7.9 × 15.7-17.7 in. Courtesy of the artist and The University of Salford Art Collection. (Three slightly deformed gray cylindrical objects lie on the ground. Each has a pipe passing through it.)
Hannah Leighton-Boyce Down, through, and back again, 2019 Copper Site-specific work. 47 × 47 in. Courtesy of the artist. (Rectangular pieces of copper arranged in a circular shape along a hardwood floor so as to imitate the patterning of the wood. They cast a bright reflection onto a white wall.)
Jesse Stecklow Untitled (10:19:30), 2014 Clock parts, clock guard, Carbograph 5 air sampler Courtesy of the artist. (A clock mounted on a wall behind an octagonal metal grill. Its glass is translucent, and three small plastic tubes extend from it.)
Jesse Stecklow Trios (Installation view), Hudson, 2014 Fly tape Courtesy of the artist. (A fly catching ribbon hung from a ceiling hook beside a fluorescent light.)
Kylie Lockwood Becoming a Sculpture, 2019 Porcelain, unfired clay, steel and nail polish Dimensions variable Courtesy of the artist and Simone DeSousa Gallery. (Five figurative porcelain sculptures depicting different postures of a nude body.)
Kylie Lockwood Becoming a Sculpture (Image 6), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A person molding porcelain around their left leg. Above them several black and white printed images of a nude sculpture are posted.)
Kylie Lockwood Becoming a Sculpture (Image 7), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A mirror image photograph of a person molding porcelain around their left leg. They are on a table and are supporting their weight with a clay block.)
Liz Linden signs (Atlanta), 2014 One live phalaenopsis orchid, one fake phalaenopsis orchid Dimensions variable Courtesy of the artist. (Two identical potted orchid plants on gray pedestals underneath a spotlight.)
Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets (Installation view), 2017 Wallpaper, soil, lavender, fluorescent lights Dimensions variable Courtesy of the artist. (Four children exploring an indoor space filled with soil and rows of lavender crop. The walls depict a forest landscape and fluorescent lights hang from the ceiling.)
Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (A bright yellow ethernet cable plugged into a wall covered with a leafy decal.)
Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Installation view), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Debris covering a gallery floor. Small, colorful birds fly around the space. Further back, two people can be seen talking.)
Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Eighteen colorful birds perch on white painted wires near lights and ceiling fixtures.)
Robert Rhee Occupations of Uninhabited Space / Year Six / CHMP, 2018 Cultivated gourd, mild steel 10.25 × 9 × 9.5 in. Courtesy of the artist. (A golden-brown sculpture in an abstract and organic shape bound with metal sits in a well-lit square recess in a wall.)
Robert Rhee Frieze (fragment), 2016 Gourd-shards, dowels, staples, copper wire 19 × 13.5 × 9 in. Courtesy of the artist. (A shattered and stapled gourd sits in a square recess in a wall.)
Robert Rhee Untitled, 2018 Mild steel, cultivated gourd 2.5 × 2.5 x 8 in. (Left) 9.5 × 7 × 9.5 in. (Right) Courtesy of the artist. (Two objects sit in a well-lit rectangular recess. The object on the right appears to be a deformed, topless gourd, bound with metal. The object on the left appears to be the missing top.)
Ryo Tomoda Chinatown 3/23 – 6/17, 2020 Found objects, fishing lines, wall pins Dimensions variable Courtesy of the artist. (Ceiling installation with lighting fixture, a pack of Newports, loose paper, a feather, debris and miscellaneous objects.)
Ryo Tomoda McKinlock Room-Western Art Section, Heritage Museum of Asian Art, 2020 Sumi ink on paper, marker on plastic bags Dimensions variable Courtesy of the artist. (Wind-inflated plastic bags hanging from a pole between two buildings. Two bags have markings resembling flags.)
Ryo Tomoda A Set within, 2020 Hair bands, metal pins 80 × 70 × 5 in. Courtesy of the artist.(Hair bands of different sizes and thicknesses installed on a white wall in the shape of an oval.)

Al Wong Together We Stand, 2020 Polyester and sunlight 66 × 48 in. Courtesy of the artist. (Three vertical, pleated white fabric objects stand side by side in front of a partially drawn, sun drenched window shade. The window shade casts horizontal designs across the fabric.)

Al Wong Light is Up, 2016 Color photographs 96 × 12 in. Courtesy of the artist. (Eight vertically aligned photographic prints of a hand holding a lit candle are mounted to a white wall in varying rotations.)

Al Wong Self Portrait, 2016 Color photographs 36 × 48 in. Courtesy of the artist. (Several photographs of a person holding a camera and taking self portraits in a circular mirror from different angles. The photos are arranged to maintain the shape of the mirror.)

Fadi al-Hamwi Irrational Loop of Dust, 2016 Cement 55 × 31.5 × 3.5 in. Courtesy of the artist. (A cement sculpture imitating a door mat laying flat with its right edge folded over itself.)

Fadi al-Hamwi Dysfunction, 2016 Cement, hair 6 × 4 × 0.8 in. Courtesy of the artist. (A close up of a small, chipped cement block. Brown hairs extend from its surface.)

Hannah Leighton-Boyce Persistent Bodies (Detail), 2018 Salt, ceramic, steel core Variable. 6.3-7.9 × 15.7-17.7 in. Courtesy of the artist and The University of Salford Art Collection. (Three slightly deformed gray cylindrical objects lie on the ground. Each has a pipe passing through it.)

Hannah Leighton-Boyce Down, through, and back again, 2019 Copper Site-specific work. 47 × 47 in. Courtesy of the artist. (Rectangular pieces of copper arranged in a circular shape along a hardwood floor so as to imitate the patterning of the wood. They cast a bright reflection onto a white wall.)

Jesse Stecklow Untitled (10:19:30), 2014 Clock parts, clock guard, Carbograph 5 air sampler Courtesy of the artist. (A clock mounted on a wall behind an octagonal metal grill. Its glass is translucent, and three small plastic tubes extend from it.)

Jesse Stecklow Trios (Installation view), Hudson, 2014 Fly tape Courtesy of the artist. (A fly catching ribbon hung from a ceiling hook beside a fluorescent light.)

Kylie Lockwood Becoming a Sculpture, 2019 Porcelain, unfired clay, steel and nail polish Dimensions variable Courtesy of the artist and Simone DeSousa Gallery. (Five figurative porcelain sculptures depicting different postures of a nude body.)

Kylie Lockwood Becoming a Sculpture (Image 6), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A person molding porcelain around their left leg. Above them several black and white printed images of a nude sculpture are posted.)

Kylie Lockwood Becoming a Sculpture (Image 7), 2019 Archival inkjet print and tape 16 × 12 in. Courtesy of the artist and Simone DeSousa Gallery. (A mirror image photograph of a person molding porcelain around their left leg. They are on a table and are supporting their weight with a clay block.)

Liz Linden signs (Atlanta), 2014 One live phalaenopsis orchid, one fake phalaenopsis orchid Dimensions variable Courtesy of the artist. (Two identical potted orchid plants on gray pedestals underneath a spotlight.)

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets (Installation view), 2017 Wallpaper, soil, lavender, fluorescent lights Dimensions variable Courtesy of the artist. (Four children exploring an indoor space filled with soil and rows of lavender crop. The walls depict a forest landscape and fluorescent lights hang from the ceiling.)

Martin Roth In May 2017 I cultivated a piece of land in Midtown Manhattan nurtured by tweets. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (A bright yellow ethernet cable plugged into a wall covered with a leafy decal.)

Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Installation view), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Debris covering a gallery floor. Small, colorful birds fly around the space. Further back, two people can be seen talking.)

Martin Roth In July 2015 I shipped debris from the Syrian border to use as bird litter. (Detail), 2015 Debris, rescued parakeets, frogs, recorded sound Dimensions variable Courtesy of the artist. (Eighteen colorful birds perch on white painted wires near lights and ceiling fixtures.)

Robert Rhee Occupations of Uninhabited Space / Year Six / CHMP, 2018 Cultivated gourd, mild steel 10.25 × 9 × 9.5 in. Courtesy of the artist. (A golden-brown sculpture in an abstract and organic shape bound with metal sits in a well-lit square recess in a wall.)

Robert Rhee Frieze (fragment), 2016 Gourd-shards, dowels, staples, copper wire 19 × 13.5 × 9 in. Courtesy of the artist. (A shattered and stapled gourd sits in a square recess in a wall.)

Robert Rhee Untitled, 2018 Mild steel, cultivated gourd 2.5 × 2.5 × 8 in. (Left) 9.5 × 7 × 9.5 in. (Right) Courtesy of the artist. (Two objects sit in a well-lit rectangular recess. The object on the right appears to be a deformed, topless gourd, bound with metal. The object on the left appears to be the missing top.)

Ryo Tomoda Chinatown 3/23 – 6/17, 2020 Found objects, fishing lines, wall pins Dimensions variable Courtesy of the artist. (Ceiling installation with lighting fixture, a pack of Newports, loose paper, a feather, debris and miscellaneous objects.)

Ryo Tomoda McKinlock Room-Western Art Section, Heritage Museum of Asian Art, 2020 Sumi ink on paper, marker on plastic bags Dimensions variable Courtesy of the artist. (Wind-inflated plastic bags hanging from a pole between two buildings. Two bags have markings resembling flags.)

Ryo Tomoda A Set within, 2020 Hair bands, metal pins 80 × 70 × 5 in. Courtesy of the artist.(Hair bands of different sizes and thicknesses installed on a white wall in the shape of an oval.)