White Columns Online #15:
The Void
curated by Daisy Sanchez

 

January 30–April 14, 2021 Online
A round abstract painting resembling the Earth. Four small white spheres are affixed. Two plywood boards sandwiching many torn pieces of colored paper bisect the work.
Eli Bornowsky
Powerful Microscope, 2016.
Oil and gouache on wood, gouache on paper, graphite
16 × 16 × 4 in.
Courtesy of the artist.
Many pink, red, mint green and blue lines and rectangles obscure a painterly composition of what appears to be an abstract blue figure against a red and black backdrop.

Nathaniel Donnett
A black imperative; the cost of not attending, 2019.
duct tape, paper, plastic
58 × 74 in.
Photo courtesy of Rick Wells.

A three by three grid of identical photographs depicting a television in a laundromat, affixed to a dark fabric with a marbled orange, green and yellow pattern.

Laura Hunt
Untitled, 2018.
Custom-printed cotton hand-sewn into silk velvet
48 × 48 in.
Courtesy of the artist.

A room in exaggerated perspective. The three walls, ceiling and floor depict various images, including abstract landscapes, a painting of Medusa and a line drawing of an elderly man.

Judith Dean
B Flat, 2017.
Acrylic on linen
25 × 35 cm.
Courtesy of the artist.

Simon Zoric Nirvana, 2013 Poster, Blu-Tack, Bedroom Wall 46" x 50" Courtesy of LON Gallery. (A framed section of cut out drywall painted blue with a poster of Kurt Cobain from the band 'Nirvana' playing guitar on stage adhered to the center of it.)

Simon Zoric
Nirvana, 2013.
Poster, Blu-Tack, Bedroom Wall
46 × 50 in.
Courtesy of LON Gallery, Collingwood, Australia.

A yellow wall-mounted sculpture resembling a radiator, studded with snap fasteners. A painting is affixed to the front depicting two figures from the back walking on a yellow road.

Sebastian Jefford
Another Green World, 2019.
Mixed media
140 × 130 × 55 cm.
Courtesy of Gianni Manhattan, Vienna.

An oval shaped work made to resemble a souvenir elongated penny. The canvas is painted a copper color, with wavy silver lines suggesting embossed grooves that form an abstract scene.

Alex Lukas
World Trade Center Elongated Penny, New York, NY. Montvale Rest Stop, Garden State Parkway, Montvale, NJ, 2016.
Screen print, acrylic and joint compound on canvas
11.25 × 18 in.
Courtesy of the artist.

An abstract composition in dark shades with muted patches of red, orange and green. Affixed throughout are collaged image cutouts and materials, including a purple flower.

Gabrielle L’Hirondelle Hill
Spell #4, Billow, 2019.
Tobacco-infused crisco oil, oil paint, tobacco flower, tobacco pendant, magazine cut outs, thread
13.5 × 11 × 1.5 in.
Courtesy of the artist and Cooper Cole, Toronto.

A cartoonish oxidized copper sculpture of a girl with a large head and realistic brown plastic eyes laying on her stomach with her feet up and her head propped on her hands.

Abby Lloyd
Penny, 2018.
Apoxie Sculpt, copper pigment, oxidizing solution, plastic eyes, wood pedestal
Sculpture: approx. 6 × 6 × 8 in.
Pedestal dimensions: 6 × 32 in.
Courtesy of the artist.

A rectangular piece of gray foam on which a reclining figure is partially depicted in relief, their abdomen, penis and thighs visible. Small raised circular marks protrude from their body.

Coco Klockner
Dysphoria ii, 2019.
Acrylic latex on HDU foam
12 × 15 in.
Courtesy of the artist.

A semi-abstract composition in dark shades of gray and murky green depicting three cat-like animals surrounded by vegetation. The cat in the center arches its back as if in warning.

Daisy May Sheff
Acid Eyes, 2019.
Oil on wood panel
44.5 × 24.5 in.
Courtesy of the artist.

An impressionistic pastel drawing depicting the upper body of a figure with distorted features wearing a blue bra. To their right is the roughly rendered red-and-orange head of a dog.

Jenny Gagalka, Beaux Mendes, and Willa Wasserman
En Plein Error, 2019.
Courtesy of the artist.

An abstract painting depicting an organic pink, red and white plant-like form that bisects the canvas into a field of navy blue to the left and wavy black and rust-colored lines to the right.

Lumin Wakoa
Untitled, 2019.
Courtesy of the artist.

A piece resembling a rug installed at the edge of a floor, partially climbing the adjacent wall. The work incorporates several bright, heavily textured fabrics and woven materials.

Sophie Stone
Slipper Rug, #2, 2019.
Cotton, acrylic fiber, sisal, house paint
44 × 90 in
Courtesy of the artist.

A photo-realistic depiction of the top of a person’s head, with dark hair and a small bald patch in the center. A blueish-green plant is tucked behind their right ear.

Ben Seeley
Untitled (thinner), 2018.
Oil on canvas
20 × 24 cm.
Courtesy of the artist.

Two decorative semi-circular metal grates with different patterns arranged to form a circle. Several long, thin cucuzza squash that are woven into the grates hang from the piece.

Santiago Taccetti
Usedomm, Currency 1, 2016.
Found objects and vegetables
180 × 120cm.
Courtesy of the artist and L’Ascensore, Palermo, Italy.

Participating Artists

Eli Bornowsky
Judith Dean
Nathaniel Donnett
Jenny Gagalka
Gabrielle L’Hirondelle Hill
Laura Hunt
Sebastian Jefford
Coco Klockner
Abby Lloyd
Alex Lukas
Ben Seeley
Daisy May Sheff
Sophie Stone
Santiago Taccetti
Lumin Wakoa
Simon Zoric

Exhibition Description

The exhibition title draws its name from “The Void”, a song off the British DIY girl group, ‘The Raincoats’, debut self-titled 1979 album.“The Void” was my primary commuting anthem the summer I spent as an archive intern at White Columns. I tried to carry the song’s idiosyncratic frustrated and elated energy into my process of sifting through the wealth of the artist registry for this show, and found myself most attracted to works that conjured up that same feeling for me.

The artists’ works included in “The Void” may not share aesthetic sensibilities or a common vernacular but do encompass a tenor akin to that of the offbeat ballad. The pieces similarly embody its conflicting tensions and cathartic releases—spaces obscured, clarified, and thrust into perspective; the slippage of bodily aspirations and discontents; mementos and remnants and memorialisations; attachments to the everyday treasures and anomalies; mind maps and visualisations and threads of memory, enmeshed and intertwined; buoyed by absurdist humour. The works echo “The Void” through gestures of individual resistance and private celebration, reclaiming space from the voids inside and out.

A very special thank you to all the fantastic artists in the exhibition, to the whole team at White Columns, especially Erin, Brittany, and Matthew, for this incredible opportunity, and to fellow White Columns Online curators Ellie Rines and Francisco Correa Cordero for making opportunities like this possible for me.

Daisy Sanchez is an independent curator from New York City, currently living and studying in London.

This exhibition is the fifteenth in a series of online exhibitions curated exclusively from White Columns’ Curated Artist Registry.

Participating Artists Include:

Eli Bornowsky
Judith Dean
Nathaniel Donnett
Jenny Gagalka
Gabrielle L’Hirondelle Hill
Laura Hunt
Sebastian Jefford
Coco Klockner
Abby Lloyd
Alex Lukas
Ben Seeley
Daisy May Sheff
Sophie Stone
Santiago Taccetti
Lumin Wakoa
Simon Zoric

For more information: registry.whitecolumns.org

A round abstract painting resembling the Earth. Four small white spheres are affixed. Two plywood boards sandwiching many torn pieces of colored paper bisect the work.
Many pink, red, mint green and blue lines and rectangles obscure a painterly composition of what appears to be an abstract blue figure against a red and black backdrop.
A three by three grid of identical photographs depicting a television in a laundromat, affixed to a dark fabric with a marbled orange, green and yellow pattern.
A room in exaggerated perspective. The three walls, ceiling and floor depict various images, including abstract landscapes, a painting of Medusa and a line drawing of an elderly man.
Simon Zoric Nirvana, 2013 Poster, Blu-Tack, Bedroom Wall 46" x 50" Courtesy of LON Gallery. (A framed section of cut out drywall painted blue with a poster of Kurt Cobain from the band 'Nirvana' playing guitar on stage adhered to the center of it.)
A yellow wall-mounted sculpture resembling a radiator, studded with snap fasteners. A painting is affixed to the front depicting two figures from the back walking on a yellow road.
An oval shaped work made to resemble a souvenir elongated penny. The canvas is painted a copper color, with wavy silver lines suggesting embossed grooves that form an abstract scene.
An abstract composition in dark shades with muted patches of red, orange and green. Affixed throughout are collaged image cutouts and materials, including a purple flower.
A cartoonish oxidized copper sculpture of a girl with a large head and realistic brown plastic eyes laying on her stomach with her feet up and her head propped on her hands.
A rectangular piece of gray foam on which a reclining figure is partially depicted in relief, their abdomen, penis and thighs visible. Small raised circular marks protrude from their body.
A semi-abstract composition in dark shades of gray and murky green depicting three cat-like animals surrounded by vegetation. The cat in the center arches its back as if in warning.
An impressionistic pastel drawing depicting the upper body of a figure with distorted features wearing a blue bra. To their right is the roughly rendered red-and-orange head of a dog.
An abstract painting depicting an organic pink, red and white plant-like form that bisects the canvas into a field of navy blue to the left and wavy black and rust-colored lines to the right.
A piece resembling a rug installed at the edge of a floor, partially climbing the adjacent wall. The work incorporates several bright, heavily textured fabrics and woven materials.
A photo-realistic depiction of the top of a person’s head, with dark hair and a small bald patch in the center. A blueish-green plant is tucked behind their right ear.
Two decorative semi-circular metal grates with different patterns arranged to form a circle. Several long, thin cucuzza squash that are woven into the grates hang from the piece.

Eli Bornowsky
Powerful Microscope, 2016.
Oil and gouache on wood, gouache on paper, graphite
16 × 16 × 4 in.
Courtesy of the artist. (A round abstract painting resembling the Earth. Four small white spheres are affixed. Two plywood boards sandwiching many torn pieces of colored paper bisect the work.)

Nathaniel Donnett
A black imperative; the cost of not attending, 2019.
duct tape, paper, plastic
58 × 74 in.
Photo courtesy of Rick Wells. (Many pink, red, mint green and blue lines and rectangles obscure a painterly composition of what appears to be an abstract blue figure against a red and black backdrop.)

Laura Hunt
Untitled, 2018.
Custom-printed cotton hand-sewn into silk velvet
48 × 48 in.
Courtesy of the artist. (A three by three grid of identical photographs depicting a television in a laundromat, affixed to a dark fabric with a marbled orange, green and yellow pattern.)

Judith Dean
B Flat, 2017.
Acrylic on linen
25 × 35 cm.
Courtesy of the artist. (A room in exaggerated perspective. The three walls, ceiling and floor depict various images, including abstract landscapes, a painting of Medusa and a line drawing of an elderly man.)

Simon Zoric
Nirvana, 2013.
Poster, Blu-Tack, Bedroom Wall
46 × 50 in.
Courtesy of LON Gallery, Collingwood, Australia. (A poster of Kurt Cobain from the band Nirvana playing guitar on stage, adhered to the center of a cut-out section of light blue painted drywall which has been framed and mounted.)

Sebastian Jefford
Another Green World, 2019.
Mixed media
140 × 130 × 55 cm.
Courtesy of Gianni Manhattan, Vienna. (A yellow wall-mounted sculpture resembling a radiator, studded with snap fasteners. A painting is affixed to the front depicting two figures from the back walking on a yellow road.)

Alex Lukas
World Trade Center Elongated Penny, New York, NY. Montvale Rest Stop, Garden State Parkway, Montvale, NJ, 2016.
Screen print, acrylic and joint compound on canvas
11.25 × 18 in.
Courtesy of the artist. (An oval shaped work made to resemble a souvenir elongated penny. The canvas is painted a copper color, with wavy silver lines suggesting embossed grooves that form an abstract scene.)

Gabrielle L’Hirondelle Hill
Spell #4, Billow, 2019.
Tobacco-infused crisco oil, oil paint, tobacco flower, tobacco pendant, magazine cut outs, thread
13.5 × 11 × 1.5 in.
Courtesy of the artist and Cooper Cole, Toronto. (An abstract composition in dark shades with muted patches of red, orange and green. Affixed throughout are collaged image cutouts and materials, including a purple flower.)

Abby Lloyd
Penny, 2018.
Apoxie Sculpt, copper pigment, oxidizing solution, plastic eyes, wood pedestal
Sculpture: approx. 6 × 6 × 8 in.
Pedestal dimensions: 6 × 32 in.
Courtesy of the artist. (A cartoonish oxidized copper sculpture of a girl with a large head and realistic brown plastic eyes laying on her stomach with her feet up and her head propped on her hands.)

Coco Klockner
Dysphoria ii, 2019.
Acrylic latex on HDU foam
12 × 15 in.
Courtesy of the artist. (A rectangular piece of gray foam on which a reclining figure is partially depicted in relief, their abdomen, penis and thighs visible. Small raised circular marks protrude from their body.)

Daisy May Sheff
Acid Eyes, 2019.
Oil on wood panel
44.5 × 24.5 in.
Courtesy of the artist. (A semi-abstract composition in dark shades of gray and murky green depicting three cat-like animals surrounded by vegetation. The cat in the center arches its back as if in warning.)

Jenny Gagalka, Beaux Mendes, and Willa Wasserman
En Plein Error, 2019.
Courtesy of the artist. (An impressionistic pastel drawing depicting the upper body of a figure with distorted features wearing a blue bra. To their right is the roughly rendered red-and-orange head of a dog.)

Lumin Wakoa
Untitled, 2019.
Courtesy of the artist. (An abstract painting depicting an organic pink, red and white plant-like form that bisects the canvas into a field of navy blue to the left and wavy black and rust-colored lines to the right.)

Sophie Stone
Slipper Rug, #2, 2019.
Cotton, acrylic fiber, sisal, house paint
44 × 90 in.
Courtesy of the artist. (A piece resembling a rug installed at the edge of a floor, partially climbing the adjacent wall. The work incorporates several bright, heavily textured fabrics and woven materials.)

Ben Seeley
Untitled (thinner), 2018.
Oil on canvas
20 × 24 cm.
Courtesy of the artist. (A photo-realistic depiction of the top of a person’s head, with dark hair and a small bald patch in the center. A blueish-green plant is tucked behind their right ear.)

Santiago Taccetti
Usedomm, Currency 1, 2016.
Found objects and vegetables
180 × 120cm.
Courtesy of the artist and L’Ascensore, Palermo, Italy. (Two decorative semi-circular metal grates with different patterns arranged to form a circle. Several long, thin cucuzza squash that are woven into the grates hang from the piece.)