Lily Stockman

A Green Place


London

Opening on Wednesday, May 25, 2022 from 6 pm to 8 pm.

For the safety of our visitors and staff, masks must be worn by all visitors upon entrance and hand sanitiser will be provided at the door and throughout the gallery.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open on Tuesday to Saturday, from 10 am until 6 pm.

  • , Dog Rose, 2022
    Oil on linen
    35.5 x 28 x 3.8 cm
    14 x 11 x 1.7 in
  • , Birthday Geranium, 2022
    Oil on linen
    122 x 91.5 x 4.3 cm
    48 x 36 x 1.7 in
  • , Wolfsbane, 2022
    Oil on linen
    121.9 x 91.4 cm
    48 x 36 x 1.7 in
  • , Desert Senna, 2022
    Oil on linen
    35.5 x 28 x 3.8 cm
    14 x 11 x 1.7 in
  • , Mouth of Burns Canyon, 2022
    Oil on linen
    35.5 x 28 x 3.8 cm
    14 x 11 x 1.7 in
  • , Atlantic Swell, 2022
    Oil on linen
    157.5 x 127 x 4.3 cm
    62 x 50 x 1.7 in
  • , Spring Sound, 2022
    Oil on linen
    157.5 x 127 x 4.3 cm
    62 x 50 x 1.7 in
  • , Crossing, 2022
    Oil on linen
    213.4 x 157.5 x 4.3 cm
    84 x 62 x 1.7 in
  • , CA-247, 2022
    Oil on linen
    121.9 x 91.4 cm
    48 x 36 x 1.7 in
  • , Planting Out, 2022
    Oil on linen
    35. x 28 x 3.8 cm
    14 x 11 x 1.7 in
  • , Last Ember, 2022
    Oil on linen
    35.5 x 28 x 3.8 cm
    14 x 11 x 1.7 in
  • , Vermilion Flycatcher, 2022
    Oil on linen
    122 x 89 x 4.3 cm
    48 x 36 x 1.7 in

Press release

Almine Rech London is delighted to present A Green Place by American artist Lily Stockman, on view from May 25 until July 30, 2022.

Somewhere along the vertical axis of most of Lily Stockman’s paintings lies the suggestion of a dividing line, if not some length of a line itself. This makes a painting’s two sides roughly symmetrical. Look, for instance, at the mottled chartreuse patch left by the spring of a lifted brush at one top corner of Planting Out (all works 2022) compared to the smooth sweeping stroke on the other side. Some lines wobble; others crook slightly, like the crimson interior frame of Mouth of Burns Canyon. These are the variations that undergird nature’s geometries as well as anything made by human hands. No leaf is perfectly symmetrical. Fold one and see. We are left to ask: is Stockman’s hermeneutic one of doubling (two things likened for similarity) or of opposition (two things likened for contrast)? Or, perhaps it is something different altogether that opens onto her oeuvre as a whole—something that eschews the binary logic of opposition and models the capacity to hold together difference. Something that, in acknowledging this difference, allows us to linger in a place of wonder, the way we might at the sight of frozen tendrils reaching over a lake’s surface or the camouflage of a caterpillar against a stem. This place of wonder is Stockman’s A Green Place, a title taken from the journal of Derek Jarman, who let sea kale and lavender cotton thrive where the biting winds swept their seeds, forging a boundaryless garden on the Dungeness coast.

– Elizabeth Buhe, writer and critic