The expression “lie doggo” means to remain still and silent so as not to be detected—to wait for the decisive moment. This little-known idiom is the title of Nina Chanel Abney’s monumental new exhibition at Jack Shainman’s The School in Kinderhook, New York—a mammoth exhibition that, unlike the meaning of its title, does anything but fly under the radar.

Installed throughout a former schoolhouse converted into an exhibition space, “LIE DOGGO” brings together Abney’s recent paintings, collages, site-specific murals, and a digital art installation, as well as never-before-seen large-scale sculptures creating a kaleidoscopic deep dive into her artistic world.

In these works, Abney celebrates her artistic inspirations by paying homage—through color and form—to titans of Modern art including Matisse, Picasso, and Léger, as well as Harlem Renaissance visionaries such as Aaron Douglas and Jacob Lawrence. But the artist does more than offer tributes, instead metabolizing these inspirations into her distinctive visual language. In this way, “lie doggo” takes on a new meaning, as Abney seizes a long-awaited moment to reshape these canonical visual idioms, rethinking them in the context of colonialism and systemic inequalities, in the U.S. and around the world.

We caught up with Abney to talk about the influences at work in this show, her favorite art-making tool, and what surprises people most about her studio.

Installation view of “Nina Chanel Abney: LIE DOGGO” at The School: Jack Shainman Gallery. Artwork © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Dan Bradica Studio.

This new exhibition is wide-ranging, including collages, site-specific murals, an immersive digital art installation, and the debut of a new body of large-scale sculpture. How did you approach the show? What was on your mind and did you have any specific goals?

When approaching “LIE DOGGO,” I wanted to push the boundaries of my artistic practice and explore new mediums.  My goal was to create an immersive experience that would engage visitors on multiple levels. I thought about how each piece could interact with the space and with the other works in the exhibition to create a cohesive narrative. I was particularly interested in how different mediums could convey themes of surveillance, perception, and reality. The site-specific murals and digital art installation allowed me to play with scale and movement, while the large-scale sculptures provided a new dimension to my work. Overall, I aimed to provoke thought and encourage viewers to question what they see and experience.

Installation view of “Nina Chanel Abney: LIE DOGGO” at The School: Jack Shainman Gallery. Artwork © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Dan Bradica Studio.

What does the title “LIE DOGGO” mean to you?

“LIE DOGGO” is a phrase that resonates deeply with the themes I wanted to explore in this exhibition. It speaks to the idea of staying still and unnoticed, a survival tactic in both the animal kingdom and human society. For me, it represents a commentary on the current social and political climate, in which people often feel the need to lie low to avoid scrutiny or confrontation. The title also plays with the duality of truth and deception, prompting viewers to consider what is real and what is hidden beneath the surface. It’s about the tension between visibility and invisibility, and the complex layers of identity and reality.

Installation view of “Nina Chanel Abney: LIE DOGGO” at The School: Jack Shainman Gallery. Artwork © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Dan Bradica Studio.

What kind of atmosphere do you prefer when you work? Is there anything you like to listen to/watch/read/look at etc. while in the studio for inspiration or to create an ambience?

When creating a body of work, I like to begin with a very clean workspace and let it evolve into chaos as the work progresses (tons of cut paper, books, art supplies, printouts of references, and notes eventually litter the space). Once the work leaves my studio, I clean up and start over.

I have a cart of books that I am referencing at the moment. And may have a few books open to specific images that I find inspiring. I listen to music, podcasts. I watch movies, YouTube—it all depends on my mood. All of this acts as inspiration and ambiance simultaneously.

Installation view of “Nina Chanel Abney: LIE DOGGO” at The School: Jack Shainman Gallery. Artwork © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Dan Bradica Studio.

When you feel stuck while preparing for a show, what do you do to get unstuck?

When I feel stuck, I immerse myself in the art of others who I find inspiring. That could be anything from going to a concert, a movie, or a Broadway play. I may watch artist lectures, go check out some exhibitions, or visit the studios of artist/designer friends.

Installation view of “Nina Chanel Abney: LIE DOGGO” at The School: Jack Shainman Gallery. Artwork © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Dan Bradica Studio.

What tool or art supply do you enjoy working with the most, and why?

I have a love/hate relationship with scissors. I do an immense amount of cutting, which can be very tedious, but I found a few pairs of scissors that have made cutting more enjoyable. Something is fulfilling about mastering techniques through years and years of practice that allows me to cut by hand shapes that most would deem difficult. While it can be overwhelming to have to cut out so many shapes for a project, there is something calming and enjoyable in the repetition.

Is there anything in your studio that a visitor might find surprising?

Something that surprises most folks who come into my studio is that the room I work in is rather compact compared to the large-scale works I create.

“Nina Chanel Abney: LIE DOGGO” is on view at The School, 25 Broad Street, Kinderhook, New York, through November 16.