Colonnade in Blue, Unhung

Exhibition. 7 works on view at ///bunk.glee.they, 500 WOLF ST, Whitman. The wall is circular: walking in either direction returns to the title wall. Use Tab to move between works and Enter to read a work’s wall label. Arrow keys move along the wall.

Seven works at a single point in the city, the first acquired in May 2025 and the most recent in September 2025; all of them have since been accessioned into the permanent collection. One commissioner: Parks & Recreation. The museum did not solicit any of them.

The works are exhibited in order of acquisition. Visitors will notice that the subject does not change; the museum invites them to consider what does.

1. Colonnade in Blue, Unhung, No. 15 — Powder-coated steel, poured rubber surfacing, pendant hardware, open sky. Accession 17588688. Acquired May 9, 2025. 496 days on view. The arches recede in even intervals across the blue field, their powder-coated surfaces still bright, and from the purple crossbar of the nearest one hang four short lengths of chain and their hardware, ending in air at roughly shoulder height. Beneath them the poured rubber has worn through in one broad rectangle to the dark substrate below, a tonal break that anchors the left of the composition, while dried straw drifts across the intact surfacing in the foreground. Read alongside the other works from this site, the piece is the most purely architectural: the apparatus has been reduced to structure and interval, and the museum preserves it for the clarity of that reduction.
2. Colonnade in Blue, Unhung, No. 16 — Painted timber, steel support, exposed underlayers, brick paving. Accession 17590281. Acquired May 11, 2025. 494 days on view. The work is organised by two horizontal bands of colour — green above, orange below — divided by a grey concrete edge and joined by a steel upright whose green coat has chipped away to teal and blue beneath. That blue recurs as spatter on the curb and again at the paving, tying the piece to the others exhibited alongside it and giving the series its name. A single looped chalk mark sits at the centre of the seat, the lightest gesture in a surface otherwise scratched, scuffed, and repainted. The museum preserves the work for this stratigraphy of coats, in which each successive colour records the one it was meant to cover.
3. Colonnade in Blue, Unhung, No. 17 — Galvanised steel armature, painted backboard, oxidising welds, evening light. Accession 17644324. Acquired June 7, 2025. 467 days on view. Seen from beneath, the work resolves into a set of steel diagonals braced against open sky, the rust from each welded joint running downward in narrow orange tracks across the galvanised tube. The white board reads as a single flat plane at this angle, nearly edge-on, while the red rim and its chain net hang clear of it in silhouette. Among the siblings shown here, this is the one in which the armature dominates and the playing surface recedes to a line. The museum preserves it for that inversion: the structure has become the subject, and the board merely what the structure carries.
4. Colonnade in Blue, Unhung, No. 18 — Galvanised steel pole, unlit luminaire, overcast sky. Accession 17713105. Acquired June 14, 2025. 460 days on view. The composition is organised by two arms: the long curved mast carrying its shaded luminaire, and below it a short horizontal member that extends into open air and holds nothing at all. Against the uniform overcast the pole reads as pale grey metal, banded at intervals by seams and clamps, while the tree canopy occupies the lower register in deep unlit green. The museum preserves the work for the unhung cross-arm, which gives the series its name and states its formal premise more plainly here than in any of its siblings.
5. Colonnade in Blue, Unhung, No. 19 — Concrete basin, standing water, radial scoring, sediment. Accession 17872125. Acquired July 5, 2025. 439 days on view. The basin's incised radial lines remain legible beneath the water, converging on a central point that the shallow film enlarges rather than obscures. Sediment has settled unevenly across the concrete, tinting the standing surface ochre where it is deepest and leaving pale margins where it thins toward the rim; the canopy overhead is returned in full across the middle of the plane. Where other works in the series present the basin as bare concrete, this one records it holding, and the museum values the reflection as the series' clearest passage of accidental image-making.
6. Colonnade in Blue, Unhung, No. 20 — Rubber seat, galvanised chain, poured safety surfacing. Accession 17951593. Acquired July 27, 2025. 417 days on view. Held at a single point, the seat has rotated out of the horizontal and hangs as a narrow black band down the centre of the composition, its slight curve the only remnant of the posture it was manufactured to hold. The free chain has come to rest in a loose coil on the blue surfacing, its galvanised links catching more light than anything else in the frame. Small scraps of litter and a yellow leaf punctuate the speckled ground, which reads here as a flat field rather than a floor. Within the series, this is the panel in which the vertical dominates most completely.
7. Colonnade in Blue, Unhung, No. 21 — Sycamore, aluminium pole, mown turf, late afternoon light. Accession 18022618. Acquired September 2, 2025. 380 days on view. The sycamore dominates the right of the composition, its bark shedding in cream and olive plates that catch the low light while the trunk's base flares over exposed root and dry leaf litter. Directly beside it the aluminium pole carries its curved arm up into the canopy, the lamp head turned back among the branches so that fixture and foliage occupy the same plane. Read alongside its siblings in the series, this view is the one in which the vertical elements align most closely, the pole reading as a bare stem among the trunks. The museum preserves it as the sequence's clearest study of that correspondence.

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