Each work exhibited in Cheyney Thompson's solo exhibition was given a lozenge or diamond shape to allow the paintings to touch each other and create a connective tissue that binds the works in a continuous flow of process, progress, proposition and production. Thompson, as an artist, typically relies on an algorithm or mathematical formula to determine creative results. The exhibition is a sort of rigorous investigation into the artist's multifaceted production, which testifies to two decades of activity through an immersion in seven series of works. Yet these are not historical works, but rather paintings created in the last 12 months and specifically adapted to the proportions of the gallery. Thompson's seven series are represented by their collective titles and varying numbers of works: Graphites (four paintings), Chronochromes (seven paintings), Bellonas (two paintings), Dead Landlords Through Subtracted Light (two paintings), Displacements (nine paintings), Stochastics (six paintings), and Caning (five paintings), all dated 2023.