Wilder Alison

Slit Subjects

November 14, 2019–January 11, 2020 East Gallery
Wilder Alison, installation view, 2019-2020 (View of a gallery with three white columns down the middle. On the walls in the background there are eight large rectangular, vivid paintings on wool: three paintings installed on the left wall and five on the right. In the foreground of the image in the left lower corner is a partial view of a long table on which similarly formatted and patterned but much smaller works on paper are laid out in groups. All the paintings are made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed colors.)

Wilder Alison, installation view, 2019-2020

Wilder Alison, installation view, 2019-2020 (Three similarly sized rectangular paintings installed at the same height on a wall around a brick arched entryway: one to the left and two to the right. The work to the left, sweep/s light bristles/Granulerer is made of dyed wool that has been cut up and sewn together, resulting in patches of light blue, black, pink, orange, yellow and a bit of green. The two works to the left, fuse the /fuse—s/lip greenery, horse and horse a/ flame/IN/flame are made in the same way and are installed very close to each other and have the same composition with slight variations in color - where the work to the left has dark green patches the right work has patches of deep brown.)

Wilder Alison, installation view, 2019-2020

Wilder Alison, installation view, 2019-2020 (Four rectangular paintings installed on either side of a white column: two on the left wall and two on the right. Each pair of paintings is hung in close proximity, and have similar compositions.)

Wilder Alison, installation view, 2019-2020

Wilder Alison, installation view, 2019-2020 (A partial view of a long light grey table on which small rectangular works on paper are laid out in groups. The works share formal qualities with the paintings on wool on the walls, and are made by painting, cutting and reassembling the paper into geometric patterns. There is a broad ranging palette in each and among the works, including purple, black, brown, green, grey and blue.)

Wilder Alison, installation view, 2019-2020

Wilder Alison, installation view, 2019-2020 (Five paintings installed around the corner of two walls: three on the left wall and a diptych on the right. All the paintings are made of dyed wool substrates that have been cut and re-sewn. The three paintings on the left vary in size, and are installed in a triangular formation. The smallest work, silver/sugar, whet whipped, is installed on top and its composition is made primarily of blues with accents of black on raw undyed wool. The largest work, b/link a rapid lip The throat/, is installed just below, and includes sparse areas of pinks, deep reds, dark blues, and grey blues. Leaks fleuresce\ softenunder\, which has a purple middle and areas of yellows and greens along with streaks of pink and orange, is installed to the right of these two works. On the wall to the right is a diptych titled Drone/on pure organs link/a Slantwise shadow, in which two paintings are installed in a stack very closely to each other. The composition created by the seams are identical as is the color pallet of dark green, purple, brown, and pink. The only difference is a slight variation on where the colors are applied.)

Wilder Alison, installation view, 2019-2020

Wilder Alison, installation view, 2019-2020 (A frontal view of the diptych, Drone/on pure organs link/a Slantwise shadow, installed with two other paintings hung in a row to its right. Directly to the diptych's right is Whip an orchid\ rest\—less Wave, a painting made mostly of purple and light brown areas with hints of gray and blue. After that is s through though Break/rift/or Cast, a painting with areas of reddish brown, yellows, and grays.)

Wilder Alison, installation view, 2019-2020

silver/sugar, whet whipped, 2019 Dyed wool, thread 21.75 x 39.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is created by multiple areas of blue accompanied by some black and little patches of brown, sand, and green, among patches of raw undyed wool.)

silver/sugar, whet whipped, 2019

Dyed wool, thread

21.75 × 39.44 in.

fuse the /fuse—s/lip greenery, horse —, 2019 Dyed wool, thread 28.88 x 45.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of areas of dark green and orange with a bit of yellow and light gray among patches of raw undyed wool.)

fuse the /fuse—s/lip greenery, horse —, 2019 Dyed wool, thread 28.88 × 45.44 in.

Whip an orchid\ rest\—less Wave, 2019 Dyed wool, thread 29.63 x 51 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of large areas of purple and orange with little bits of light blue and gray among patches of raw undyed wool.)

Whip an orchid\ rest\—less Wave, 2019

Dyed wool, thread

29.63 × 51 in.

Press Release

White Columns is proud to present Slit Subjects, Wilder Alison’s first solo exhibition in New York City. Slit Subjects comprises new paintings on fabric and paper, and an offsite performance by the artist’s band N0 ST0NES on December 18th.

The works in Slit Subjects deploy Monique Wittig’s typographical rendering of the “split subject” as their guiding structure. Alison writes, “In the translation of Monique Wittig’s The Lesbian Body, the I cannot be split, so it is italicized, and the slash appears instead in m/e and m/y. The graphic sum of these marks throughout the text is a conflation of the slash and the I, such that the I itself begins to enact a split.”

Starting with wool blankets, Alison repeatedly applies colors to the fabric via heated dye vats, imparting a concise palette of 4-6 colors per piece. After soaking in water, wool is folded and lowered into the dye baths, and the color is adjusted by dispensing tiny quantities of powdered dye into the bath. Each dye bath’s color reveals itself only when it stains the fabric, often taking shape with gentle waves that reflect the curvature of the dye pot. The dyed fabric is then cut, reconfigured, and sewn into new compositions whose seams evoke the diagonal I – or slash – in Wittig’s text.

N0 ST0NES, a music collaboration between Wilder Alison and composer and psychoanalyst Monroe Street will perform on Wednesday, December 18th at Honey’s in Brooklyn (93 Scott Ave.) Following a reading by Mirene Arsanios. Doors are at 7pm and admission is free.

WILDER ALISON (b. 1986, Burlington, VT) is a New York City based interdisciplinary artist and a 2016 graduate of the Bard MFA Painting program. Recent solo shows include $PLIT $UBJECT at Marlboro College, VT and new wools at the Hudson D. Walker Gallery in Provincetown, MA. Alison has exhibited work with Rachel Uffner Gallery, NY, Cue Foundation, NY, 247365, NY and at A Public Space as part of the The Legacy Program at The Lighthouse Works, Fishers Island, NY.

Event

N0 ST0NES, a music collaboration between Wilder Alison and composer and psychoanalyst Monroe Street will perform on Wednesday, December 18th at Honey’s in Brooklyn (93 Scott Ave.) Following a reading by Mirene Arsanios. Doors are at 7pm and admission is free.

December 18th, 2019

Honey’s
93 Scott Avenue
Brooklyn, NY

Wilder Alison, installation view, 2019-2020 (View of a gallery with three white columns down the middle. On the walls in the background there are eight large rectangular, vivid paintings on wool: three paintings installed on the left wall and five on the right. In the foreground of the image in the left lower corner is a partial view of a long table on which similarly formatted and patterned but much smaller works on paper are laid out in groups. All the paintings are made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed colors.)
Wilder Alison, installation view, 2019-2020 (Three similarly sized rectangular paintings installed at the same height on a wall around a brick arched entryway: one to the left and two to the right. The work to the left, sweep/s light bristles/Granulerer is made of dyed wool that has been cut up and sewn together, resulting in patches of light blue, black, pink, orange, yellow and a bit of green. The two works to the left, fuse the /fuse—s/lip greenery, horse and horse a/ flame/IN/flame are made in the same way and are installed very close to each other and have the same composition with slight variations in color - where the work to the left has dark green patches the right work has patches of deep brown.)
Wilder Alison, installation view, 2019-2020 (Four rectangular paintings installed on either side of a white column: two on the left wall and two on the right. Each pair of paintings is hung in close proximity, and have similar compositions.)
Wilder Alison, installation view, 2019-2020 (A partial view of a long light grey table on which small rectangular works on paper are laid out in groups. The works share formal qualities with the paintings on wool on the walls, and are made by painting, cutting and reassembling the paper into geometric patterns. There is a broad ranging palette in each and among the works, including purple, black, brown, green, grey and blue.)
Wilder Alison, installation view, 2019-2020 (Five paintings installed around the corner of two walls: three on the left wall and a diptych on the right. All the paintings are made of dyed wool substrates that have been cut and re-sewn. The three paintings on the left vary in size, and are installed in a triangular formation. The smallest work, silver/sugar, whet whipped, is installed on top and its composition is made primarily of blues with accents of black on raw undyed wool. The largest work, b/link a rapid lip The throat/, is installed just below, and includes sparse areas of pinks, deep reds, dark blues, and grey blues. Leaks fleuresce\ softenunder\, which has a purple middle and areas of yellows and greens along with streaks of pink and orange, is installed to the right of these two works. On the wall to the right is a diptych titled Drone/on pure organs link/a Slantwise shadow, in which two paintings are installed in a stack very closely to each other. The composition created by the seams are identical as is the color pallet of dark green, purple, brown, and pink. The only difference is a slight variation on where the colors are applied.)
Wilder Alison, installation view, 2019-2020 (A frontal view of the diptych, Drone/on pure organs link/a Slantwise shadow, installed with two other paintings hung in a row to its right. Directly to the diptych's right is Whip an orchid\ rest\—less Wave, a painting made mostly of purple and light brown areas with hints of gray and blue. After that is s through though Break/rift/or Cast, a painting with areas of reddish brown, yellows, and grays.)
silver/sugar, whet whipped, 2019 Dyed wool, thread 21.75 x 39.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is created by multiple areas of blue accompanied by some black and little patches of brown, sand, and green, among patches of raw undyed wool.)
fuse the /fuse—s/lip greenery, horse —, 2019 Dyed wool, thread 28.88 x 45.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of areas of dark green and orange with a bit of yellow and light gray among patches of raw undyed wool.)
Whip an orchid\ rest\—less Wave, 2019 Dyed wool, thread 29.63 x 51 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of large areas of purple and orange with little bits of light blue and gray among patches of raw undyed wool.)

Wilder Alison, installation view, 2019-2020 (View of a gallery with three white columns down the middle. On the walls in the background there are eight large rectangular, vivid paintings on wool: three paintings installed on the left wall and five on the right. In the foreground of the image in the lower left corner is a partial view of a long table on which similarly formatted and patterned but much smaller works on paper are laid out in groups. All the paintings are made of dyed substrates that have been cut and re-sewn resulting in seams dividing their landscape orientation surfaces into triangles and rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed colors.)

Wilder Alison, installation view, 2019-2020 (Three similarly sized rectangular paintings installed at the same height on a wall around a brick arched entryway: one to the left and two to the right. The work to the left, sweep/s light bristles/Granulerer is made of dyed wool that has been cut up and sewn together, resulting in patches of light blue, black, pink, orange, yellow and a bit of green. The two works to the left, fuse the /fuse—s/lip greenery, horse and horse a/ flame/IN/flame are made in the same way and are installed very close to each other and have the same composition with slight variations in color – where the work to the left has dark green patches the right work has patches of deep brown.)

Wilder Alison, installation view, 2019-2020 (Four rectangular paintings installed on either side of a white column: two on the left wall and two on the right. Each pair of paintings is hung in close proximity, and have similar compositions.)

Wilder Alison, installation view, 2019-2020 (A partial view of a long light grey table on which small rectangular works on paper are laid out in groups. The works share formal qualities with the paintings on wool on the walls, and are made by painting, cutting and reassembling the paper into geometric patterns. There is a broad ranging palette in each and among the works, including purple, black, brown, green, grey and blue.)

Wilder Alison, installation view, 2019-2020 (Five paintings installed around the corner of two walls: three on the left wall and a diptych on the right. All the paintings are made of dyed wool substrates that have been cut and re-sewnThe three paintings on the left vary in size, and are installed in a triangular formation. The smallest work, silver/sugar, whet whippedis installed on top and its composition is made primarily of blues with accents of black on raw undyed wool. The largest work, b/link a rapid lip The throat/is installed just below, and includes sparse areas of pinks, deep reds, dark blues, and grey blues. Leaks fleuresce\ softenunder\, which has a purple middle and areas of yellows and greens along with streaks of pink and orange, is installed to the right of these two worksOn the wall to the right is a diptych titled Drone/on pure organs link/a Slantwise shadowin which two paintings are installed in a stack very closely to each other. The composition created by the seams are identical as is the color pallet of dark green, purple, brown, and pink. The only difference is a slight variation on where the colors are applied.)

Wilder Alison, installation view, 2019-2020 (A frontal view of the diptych, Drone/on pure organs link/a Slantwise shadow, installed with two other paintings hung in a row to its right. Directly to the diptych’s right is Whip an orchid\ rest\—less Wave, a painting made mostly of purple and light brown areas with hints of gray and blue. After that is s through though Break/rift/or Cast, a painting with areas of reddish brown, yellows, and grays.)

silver/sugar, whet whipped, 2019 Dyed wool, thread 21.75 × 39.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is created by multiple areas of blue accompanied by some black and little patches of brown, sand, and green, among patches of raw undyed wool.)

fuse the /fuse—s/lip greenery, horse —, 2019 Dyed wool, thread 28.88 × 45.44 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of areas of dark green and orange with a bit of yellow and light gray among patches of raw undyed wool.)

Whip an orchid\ rest\—less Wave, 2019 Dyed wool, thread 29.63 × 51 in. (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 rhombuses. The sharp cut off of color at the seams are contrasted by the organic faded edges of the dyed color. The composition is made mostly of large areas of purple and orange with little bits of light blue and gray among patches of raw undyed wool.)