**LOGAN ELISE CROMPTON**
Bio
Logan Crompton [b. 2000, Kansas City, MO] is a Black post-post-internet (its gets to a point lol) artist based in Philadelphia, PA. Logan, as an artist, is concerned with Black corporeal realities, transparency, reflectivity, Fashion, fibers, african spiritual systems of belief, and methods of protection within digital spaces. Their work explores said themes through mythmaking, magic, matrixes, algorithms, and repetition as mantra. Logan received their BFA from the Kansas City Art Institute in Painting and Art History and their MFA in Painting from Tyler School of Art and Architecture. Logan was previously a Mellon Curatorial Fellow at the Nelson Atkins Museum of Art and an AXA art prize finalist. They currently work as a Teaching Artist, educating both at the university and elementary level at Temple University and Coco Academy respectively. Logan has exhibited work in Kansas City, Philadelphia, and New York.
A Question
What are the consequences of an idea, image or meme being proliferated with no seeming end?
My works sits between interior and exterior worlds. The tension between on and offline, whats editted, curated, and posted online and what we decide to keep to ourselves. This tension is also reflected in fashion, with histories of peacocking and the cyclical nature of highfashion to fast fashion. I have become increasingly focused on fashion and fibers as a medium and its use psychologically as armor. Fibers itself stands out for its historical significance in developing early technologies and its potential as a versatile framework for expression. I'm most drawn to sequins in this way. The use of sequins superficially, typically associated with club culture, materially is transformed into a reflective exterior, protective, illuminated, and reminiscent of chainmail. The fabrics I use and reference in my most recent body of work are byproducts of the fast fashion industry. They are transformed by the flattening, scaling up, and shifting of their original context through technology interventions such as Photoshop, printer malfunctions, and image transfer.The pieces I make are constrained to aspect ratios of (2: 3, 4: 4,16: 9) which is common for smartphones, flatscreen TVs, printer paper, etc.
The matrixes of a material's inherent grid organize new and additional information. Process becomes indistinguishable from finished work: the matrix and its print become one in the same. I think of the matrix as the underlying structure that can be found in memes, and in combining elements such as text, image, sequins, grids, and tape, I privilege process as an entry point into the complex nature of memes structurally. Manipulating grids reveals their capacity to store and embed information. By working with multiples, I complicate information organization, making the work self-referential and interconnected, mirroring online information structures. I explore trends and virality through the self-referential nature of the grid and the matrix, where elements of a work's source are embedded in its making and reflected in its matrix. Iconography is embedded in these complex structures; and they continue to be appropriated.
The presence of the black figure is often abstracted in my work, not only through my hand or use of technology such as printing, photoshop, or image transfer but also by way of carrying the history / digital legacy of the many manipulations an image went through before it crosses my path. My work draws comparison between the virality of images on social media and the fast fashion industry, both of which operate in cycles.
My concern with the matrix is a response to trends and virality as it relates to repetition, mutation, and imitation. Compressing and flattening visual information challenges traditional painting's illusory depth. By disrupting conventional techniques, this approach defies how paintings typically transport audiences into imagined worlds. Instead, it creates a complex "third space" through dense, multilayered information embeddings that strategically subvert and reimagine artistic mythmaking. The work is a provocative, defiant reimagining of spatial perception, where compression itself becomes an artistic intervention.
**RECENT PROJECTS**
CHOPPED SLOPPED SCREWED, A BLACKNET PRODUCTION , Vox Populi's Black box, Philadelphia, PA JAN - FEB 14 2026
Healing is a process not a destination: MFA Thesis Exhbition , Tyler School of Art and Architecture, Philadelphia, PA 2025
CHOPPED X SCREWED: Online Black Net Art Symposium, with collaborators Dante Moore and Shori Sims, 2025
**UPCOMING EXHIBITIONS**
Three Person Show: Logan Elise Crompton, Ryan Scails, and Jocelyn Tsui , FJORD, Philadelphia, PA MAY 2026
**ARTIST TALK**
CHOPPED SLOPPED SCREWED, A BLACKNET PRODUCTION , Vox Populi's Blackbox, Philadelphia, PA 2026
**MANIFESTATIONS//SELECTED WORKS**
HEALING IS A PROCESS NOT A DESTINATION//Sublimation matrix//2024
HEALING IS A PROCESS NOT A DESTINATION//Sequin print//2024
EVRTHNGUVEVRWNTEDISALRDYWT
iwasmeantforthebigscreen//2min//2023
ZOMBIEBABE//instagram filter//2023
BLACK MEME BOOK CLUB//SHORI (HAILEY) SIMS, DANTE MOORE, LOGAN CROMPTON//2025
AVATARS//7min23//2023
INSPO??
RESEARCH//READINGS
