Wendell Supreme Shannon

All Day, All Night

E1507 Summer Showcase (2025)

Curated by Dustin Kuhns
Photos by Tame’ra Anderson

Wendell Supreme Shannon paints order. Order, not as constraint, but as opening—for rhythm, practice, liberation. 

All Day, All Night compiles a visual language of structured optimism shaped across years of dedicated practice. Built in geometry and Wendell’s ‘Perfectionism’; freed by relentless, dynamic, relational logic. Saturated in modern, urban cycles. Light and dark. Calm and energetic. Still and shifting. 

Wendell’s forms aren’t decorative. They’re decisions—the kind we all aspire to make: small choices that accumulate into a compelling whole.

All the works practice order. But each finds its own rhythm.

Every block, every edge, every angle has a role. But the outcomes aren’t fixed. Like a jazz progression, the forms are structured but not static. They echo how we move through a day, a week, a month, or a year. They echo the dualities we navigate to survive—discipline and flexibility, structure and intuition, repetition and change.

Wendell’s own rhythm is ever-present. A background shaped by illness, recovery, and physical labor makes the clarity of these lines more than visual. They are biographical, proof of—and a reason for—persistence. This human geometry is not assumed but earned.

These works pull from many places: childhood textures, ancestral patterns, street grids, personal turning points. All Day, All Night doesn’t resolve these influences. It holds them in relation between past, present and future—tension, balance, where (or who) we came from and where we are going.

Organized Chaos, Wendell’s newest work, is another irruption from his operating principles. A field of disruption calmed by logic. It speaks directly to the show’s name, All Day, All Night—circadian waves of noise become livable, even comfortable, when repetition becomes rhythm. Order can be a form of care, patience and coherence.

Life, in its relentless flow, is an ongoing practice of human geometry. All life practices order. But each finds its own rhythm.

Wendell calls his style ‘Perfectionism’… though it isn’t quite the word for me. It implies a myopic obsession—neglecting the whole for its parts. But Wendell’s precision isn’t control for control’s sake—it comes not from a lack but from an abundance of self-belief and self-knowledge. Order clears room for complexity. Practice promotes clarity in multiplicity. Good structure helps us build, not break. 

Perfectionism can be a prison, but order—rhythm, practice, structure—is liberating. 

To move truly is the reward, not the brushstroke.