White Columns Online:

THWACK

curated by La Kaje

June 27–September 7, 2019 Online
Wilder Alison_1

Wilder Alison

Lick Lack Low, 2014
Dyed nylon, thread, wood
94 × 54 inches
Courtesy of the artist

Wilder Alison FF FF F, 2014 Wax, pigment, cotton, plastic 82 x 45 inches Courtesy of the artist (A painting that includes a landscape orientation cotton component with a portrait orientation piece of plastic attached on its right side. The dyed part of the substrates form five separate F's in varying orientations. The cotton canvas is divided into sections of raw canvas, purple, and black where as the plastic has splashes and marks in green and black.) 

Wilder Alison

FF FF F, 2014
Wax, pigment, cotton, plastic
82 × 45 inches
Courtesy of the artist

Wilder Alison j/e #4, 2016 Dyed wool, thread, wood 55 x 32 inches Courtesy of the artist (A frontal view of a painting made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and parallelograms. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made of large areas of yellow and orange with a bit of umber and light blue among patches of raw undyed wool.)

Wilder Alison

j/e #4, 2016
Dyed wool, thread, wood
55 × 32 inches
Courtesy of the artist

Wilder Alison Fs, 2014 Dyed nylon, thread, wood 60 x 29.5 inches Courtesy of the artist (A painting in the form of a parallelogram. The painting is made of dyed substrates that have been cut and re-sewn resulting divided areas of color including black, orange, light blue, and light gray that depict a black, slanted capital F with an orange shadow underneath.)

Wilder Alison

Fs, 2014
Dyed nylon, thread, wood
60 × 29.5 inches
Courtesy of the artist

Wilder Alison I see ICI, 2014 Dyed nylon, thread, wood 69 x 53 inches Courtesy of the artist (A painting in two components: a portrait orientation rectangle on top of a long, landscape orientation right trapezoid. Both components are made of dyed substrates that have been cut and re-sewn. The rectangle is divided into nine identical smaller rectangles or light gray or white that have either a circle or a slashes in black marks. The trapezoid on the bottom is divided so that the word "her" in blue is spelled out in all caps on top of a yellow marbled background.)

Wilder Alison

I see ICI, 2014
Dyed nylon, thread, wood
69 × 53 inches
Courtesy of the artist

Frontal view of F open, a portrait orientation painting. The painting is made of dyed substrates that have been cut and re-sewn resulting  in a muddy yellow capital letter F rotated 90 degrees counter clockwise in the middle of the surface. The left and bottom parts of the painting up until they meet the F are a solid dark yellow ochre. The rest of the surface below the F is a marble of different colors including pink, light blue, black, brown, muddy pale green, and yellows.) 

Wilder Alison

F open, 2015
Wax, acrylic, pigment, cotton, wood
51 × 63 inches
Courtesy of the artist

Wilder Alison S’LACK, 2016 Acrylic and dye on canvas 45.5 x 47 inches Courtesy of the artist (Frontal view of the painting S'LACK, which has a cut-out piece spelling the word "S'LACK" on top of another painting is made of dyed substrates that have been cut and re-sewn to spell the letter L. Both components are divided into colors including two different skin tones, blue, and green.) 

Wilder Alison

S’LACK, 2016
Acrylic and dye on canvas
45.5 × 47 inches
Courtesy of the artist

Wilder Alison Untitled (onion skins), 2015 Silkscreen ink and graphite on dyed nylon 168 x 48 inches Courtesy of the artist (Frontal view of Untitled (onion skins), a painting in two parts: a square part on the left, and a long landscape orientation rectangle with the same height on the left. Throughout the whole piece is repeated imagery of onion skins silkscreened in rows of four. The right part has bright orange on top of a dark brown, whereas the left part has black or purple ink on graphite.)

Wilder Alison

Untitled (onion skins), 2015
Silkscreen ink and graphite on dyed nylon
168 × 48 inches
Courtesy of the artist

 

Wilder Alison The Goods (Les Biennes), 2016 Silkscreen on paper bag 11 x 17 x 6 inches Courtesy of the artist (A paper bag with the words "Les Biennes" on top of a line drawing of two intertwined naked figures on a pile of leaves silkscreened in green. The paper bag is sitting on a short gray pedestal the same dimensions as the bottom of the bag.) 

Wilder Alison

The Goods (Les Biennes), 2016
Silkscreen on paper bag
11 × 17 × 6 inches
Courtesy of the artist

Wilder Alison POSTED (detail), 2015 Plexi mirrior, tyvek, latex, wood 11 x 11 x 54 inches Courtesy of the artist (A posted sign that reads "Posted private property hunting, fishing, trapping or trespassing for any purpose is strictly forbidden violators will be prosecuted name __ address__." This sign is in the back of a mirrored box, reflecting on all sides on top of a wooden pedestal with an open face.) 

Wilder Alison

POSTED (detail), 2015
Plexi mirrior, tyvek, latex, wood
11 × 11 × 54 inches
Courtesy of the artist

Wilder Alison Hello!, 2015 Latex and acrylic on wall 24 x 10 feet Courtesy of the artist (A large painting on a wall of a cartoon-like blue donkey coming out of a barn that has the words "Had to stall Couldn't say hello!" written in all caps.)

Wilder Alison

Hello!, 2015
Latex and acrylic on wall
24 × 10 feet
Courtesy of the artist

 

Wilder Alison_6

Wilder Alison

Vanishing. I’N, 2015
Dyed nylon, thread, wood
62 × 24 inches
Courtesy of the artist

Participating Artist

Wilder Alison

Exhibtion Description

Epimedium

(poisonous) Calycanthus   acidic
lump
THWACK!  Hammering     into
words
and groups and Garments.

Epimedium
Epimedium Barrenwort : or
RUBRUM, Horny Goat Weed
a semi-evergreen groundcover
between march and may,  a
Flowering
Siphon

altering organic  Matter      into
fermented
Blankets, as the barriers in  rest

empress, toad Lilly everycolor

Ceilings
many evergreen plants contain an
oily
resin,  Or
other toxic compounds.
But you’ll  find
a few nontoxic  choices for your
wholesome trellis.
leafy                                    into
prickly

slipper
Wilder’
Point   at the top of tent
Widening  words,     (spelt ouˆI
And, still       and yet unsatisfied

La Kaje is an artist run project space established by Jacques Louis Vidal and Kate Levant in February 2017. Encouraging exploration of the uncomfortable edges of artistic practice, La Kaje supports modes of making that are explicitly difficult to describe and in need of participatory testing grounds.  It is our aim to disown the cynicism symptomatic of the over-professionalization of the art world.  Through heterogeneous programming, and a spirit of spontaneity, La Kaje stands as a place to suspend belief, and develop experimental voices without the anxieties of the marketplace. For more information on La Kaje: lakaje.hotglue.me/

Participating Artists Include:

Wilder Alison

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

For more information: registry.whitecolumns.org

Wilder Alison_1
Wilder Alison FF FF F, 2014 Wax, pigment, cotton, plastic 82 x 45 inches Courtesy of the artist (A painting that includes a landscape orientation cotton component with a portrait orientation piece of plastic attached on its right side. The dyed part of the substrates form five separate F's in varying orientations. The cotton canvas is divided into sections of raw canvas, purple, and black where as the plastic has splashes and marks in green and black.) 
Wilder Alison j/e #4, 2016 Dyed wool, thread, wood 55 x 32 inches Courtesy of the artist (A frontal view of a painting made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and parallelograms. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made of large areas of yellow and orange with a bit of umber and light blue among patches of raw undyed wool.)
Wilder Alison Fs, 2014 Dyed nylon, thread, wood 60 x 29.5 inches Courtesy of the artist (A painting in the form of a parallelogram. The painting is made of dyed substrates that have been cut and re-sewn resulting divided areas of color including black, orange, light blue, and light gray that depict a black, slanted capital F with an orange shadow underneath.)
Wilder Alison I see ICI, 2014 Dyed nylon, thread, wood 69 x 53 inches Courtesy of the artist (A painting in two components: a portrait orientation rectangle on top of a long, landscape orientation right trapezoid. Both components are made of dyed substrates that have been cut and re-sewn. The rectangle is divided into nine identical smaller rectangles or light gray or white that have either a circle or a slashes in black marks. The trapezoid on the bottom is divided so that the word "her" in blue is spelled out in all caps on top of a yellow marbled background.)
Frontal view of F open, a portrait orientation painting. The painting is made of dyed substrates that have been cut and re-sewn resulting  in a muddy yellow capital letter F rotated 90 degrees counter clockwise in the middle of the surface. The left and bottom parts of the painting up until they meet the F are a solid dark yellow ochre. The rest of the surface below the F is a marble of different colors including pink, light blue, black, brown, muddy pale green, and yellows.) 
Wilder Alison S’LACK, 2016 Acrylic and dye on canvas 45.5 x 47 inches Courtesy of the artist (Frontal view of the painting S'LACK, which has a cut-out piece spelling the word "S'LACK" on top of another painting is made of dyed substrates that have been cut and re-sewn to spell the letter L. Both components are divided into colors including two different skin tones, blue, and green.) 
Wilder Alison Untitled (onion skins), 2015 Silkscreen ink and graphite on dyed nylon 168 x 48 inches Courtesy of the artist (Frontal view of Untitled (onion skins), a painting in two parts: a square part on the left, and a long landscape orientation rectangle with the same height on the left. Throughout the whole piece is repeated imagery of onion skins silkscreened in rows of four. The right part has bright orange on top of a dark brown, whereas the left part has black or purple ink on graphite.)
Wilder Alison The Goods (Les Biennes), 2016 Silkscreen on paper bag 11 x 17 x 6 inches Courtesy of the artist (A paper bag with the words "Les Biennes" on top of a line drawing of two intertwined naked figures on a pile of leaves silkscreened in green. The paper bag is sitting on a short gray pedestal the same dimensions as the bottom of the bag.) 
Wilder Alison POSTED (detail), 2015 Plexi mirrior, tyvek, latex, wood 11 x 11 x 54 inches Courtesy of the artist (A posted sign that reads "Posted private property hunting, fishing, trapping or trespassing for any purpose is strictly forbidden violators will be prosecuted name __ address__." This sign is in the back of a mirrored box, reflecting on all sides on top of a wooden pedestal with an open face.) 
Wilder Alison Hello!, 2015 Latex and acrylic on wall 24 x 10 feet Courtesy of the artist (A large painting on a wall of a cartoon-like blue donkey coming out of a barn that has the words "Had to stall Couldn't say hello!" written in all caps.)
Wilder Alison_6

Wilder Alison Lick Lack Low, 2014
Dyed nylon, thread, wood
94 × 54 inches
Courtesy of the artist (A painting in the form of a parallelogram. The painting is made of dyed substrates that have been cut and re-sewn resulting divided areas of color including neon green, yellow, black, green, and blue that spell out “Lick lack low” with a big capital L that spans the left and bottom edge of the painting and the rest of the letters arranged in rows.)

Wilder Alison FF FF F, 2014
Wax, pigment, cotton, plastic
82 × 45 inches
Courtesy of the artist (A painting that includes a landscape orientation cotton component with a portrait orientation piece of plastic attached on its right side. The dyed part of the substrates form five separate F’s in varying orientations. The cotton canvas is divided into sections of raw canvas, purple, and black where as the plastic has splashes and marks in green and black.)

Wilder Alison j/e #4, 2016
Dyed wool, thread, wood
55 × 32 inches
Courtesy of the artist (A frontal view of a painting made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and parallelograms. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made of large areas of yellow and orange with a bit of umber and light blue among patches of raw undyed wool.)

Wilder Alison Fs, 2014
Dyed nylon, thread, wood
60 × 29.5 inches
Courtesy of the artist (A painting in the form of a parallelogram. The painting is made of dyed substrates that have been cut and re-sewn resulting divided areas of color including black, orange, light blue, and light gray that depict a black, slanted capital F with an orange shadow underneath.)

Wilder Alison I see ICI, 2014
Dyed nylon, thread, wood
69 × 53 inches
Courtesy of the artist (A painting in two components: a portrait orientation rectangle on top of a long, landscape orientation right trapezoid. Both components are made of dyed substrates that have been cut and re-sewn. The rectangle is divided into nine identical smaller rectangles or light gray or white that have either a circle or a slashes in black marks. The trapezoid on the bottom is divided so that the word “her” in blue is spelled out in all caps on top of a yellow marbled background.)

Frontal view of F open, a portrait orientation painting. The painting is made of dyed substrates that have been cut and re-sewn resulting  in a muddy yellow capital letter F rotated 90 degrees counter clockwise in the middle of the surface. The left and bottom parts of the painting up until they meet the F are a solid dark yellow ochre. The rest of the surface below the F is a marble of different colors including pink, light blue, black, brown, muddy pale green, and yellows.)

Wilder Alison S’LACK, 2016
Acrylic and dye on canvas
45.5 × 47 inches
Courtesy of the artist (Frontal view of the painting S’LACK, which has a cut-out piece spelling the word “S’LACK” on top of another painting is made of dyed substrates that have been cut and re-sewn to spell the letter L. Both components are divided into colors including two different skin tones, blue, and green.)

Wilder Alison

Untitled (onion skins), 2015
Silkscreen ink and graphite on dyed nylon
168 × 48 inches
Courtesy of the artist (Frontal view of Untitled (onion skins), a painting in two parts: a square part on the left, and a long landscape orientation rectangle with the same height on the left. Throughout the whole piece is repeated imagery of onion skins silkscreened in rows of four. The right part has bright orange on top of a dark brown, whereas the left part has black or purple ink on graphite.)

Wilder Alison The Goods (Les Biennes), 2016
Silkscreen on paper bag
11 × 17 × 6 inches
Courtesy of the artist (A paper bag with the words “Les Biennes” on top of a line drawing of two intertwined naked figures on a pile of leaves silkscreened in green. The paper bag is sitting on a short gray pedestal the same dimensions as the bottom of the bag.)

Wilder Alison POSTED (detail), 2015
Plexi mirrior, tyvek, latex, wood
11 × 11 × 54 inches
Courtesy of the artist (A posted sign that reads “Posted private property hunting, fishing, trapping or trespassing for any purpose is strictly forbidden violators will be prosecuted name __ address__.” This sign is in the back of a mirrored box, reflecting on all sides on top of a wooden pedestal with an open face.)

Wilder Alison Hello!, 2015
Latex and acrylic on wall
24 × 10 feet
Courtesy of the artist (A large painting on a wall of a cartoon-like blue donkey coming out of a barn that has the words “Had to stall Couldn’t say hello!” written in all caps.)

Wilder Alison Vanishing. I’N, 2015
Dyed nylon, thread, wood
62 × 24 inches
Courtesy of the artist (A painting in the form of a parallelogram. The painting is made of dyed substrates that have been cut and re-sewn resulting divided areas of color including blue, dark brown, and light neutral tones that, spelling out the word  I’N.)