Submission
Conor Thompson, Yelena Zhelezov

wait, it doesn't repeat

A ship with eyes floats above the LA skyline. A rotary, salt bread phone dangles from the canvas, unanswered. A large abstract painting looms above a hand strewn across the floor, holding a cracked iphone playing a video, ice shoes melting on concrete stairs.


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Conor Thompson, 2/1/22 (made in collaboration with Whitney Lasker, Diego Castellanos, Sadye Lackman, Grace Ma, and Lana Lim), 2022, Acrylic and mixed media on canvas on panel
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Conor Thompson, Frog in my Throat (made in collaboration with Whitney Lasker, Eve Levy, Eva Salas, Gemma Lippman, Alexa Druyanoff, Lena Bagley, and Amanda Korris), Acrylic and mixed media on canvas on panel
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Conor Thompson, Ship 1, 2022, Acrylic on panel
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Conor Thompson, Ship 2, 2022, Acrylic on panel
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Conor Thompson, Ship 3, 2022, Acrylic on panel
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Conor Thompson, Untitled, 2021, Oil on panel
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Yelena Zhelezov, An hour later, 2022, Flour, water, salt, thread and photocopy on canvas
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Yelena Zhelezov, It doesn’t matter which scenes we remember, or why, 2022 Flour, water, salt, and thread on canvas
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Yelena Zhelezov, It doesn’t matter which scenes we remember, or why (detail), 2022 Flour, water, salt, and thread on canvas
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Yelena Zhelezov, Jane Arden’s Wardrobe, 2022, Flour, water, salt and photocopy
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Yelena Zhelezov, The silent extras melt; it’s a thriller, 2022 flour, water, salt, mirror, iphone, thread, video
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Yelena Zhelezov, Who am i? Call me, tell me, 2022, Flour, water, salt, thread and photocopy on canvas
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Yelena Zhelezov, Who am i? Call me, tell me (detail), 2022, Flour, water, salt, thread and photocopy on canvas

wait, it doesn’t repeat brings together Conor Thompson and Yelena Zhelezov, two artists whose approach to making combines instruction, delineation, and recontextualization of the artwork as an acting/active object. The gallery becomes a set and each viewer is invited to join the performance.

Thompson presents his investigations into painting with the logic of playful constraint. For this exhibition, he used three methodologies: collaboration, grid, and repetition, producing collaborative paintings in accordance to a score, exploring the structure of the grid in relation to color, and recreating an atavistic character – a ship with eyes – multiple times.

Zhelezov considers material and temporal limitations with sculptures that reference the domestic and the body; the works are made with salt dough (flour, salt, LA river water) and vintage Belarusian thread. The seemingly edible objects are stitched onto three oversized canvases; the remaining, on the floor, break into smaller particles over the course of the exhibition.