Stories is a space for details, ideas, history and exclusive sales

Missing caption

Nick Goss

Green Lanes

Green Lanes. It sounds pastoral, nostalgic, faintly utopian – like some network of ancient drovers’ tracks and holloways that endures furtively in a pocket of deep England. But Green Lanes could hardly be further from such a place: it is a drawn-out urban thoroughfare, which slices for miles through the suburbs of north London, abutted by old retail parades, housing estates and supermarkets, by ranks of semi-detached houses and parks that renounced their claims to rural retreat well over a century ago.

24 September 2020

Missing caption

Christof Mascher

Presence Above All

Christof Mascher’s Street turns river, a 2015 painting in oil on board, is an urban nocturne washed with the pale purply blue that belongs only to a clear night beneath a big moon. Gas streetlamps set cream-coloured orbs on either side of the scene, repoussoir glass gems from a European city of the 1820s. A boulevard carves through the landscape, parcelling it up. The painting is tight, everything in its proper place.

7 September 2020

Missing caption

Gareth Cadwallader

Painting in the world, around the world

Shortly after the opening of Half-Lowered Eyelids, his first solo exhibition at Josh Lilley in January 2019, Gareth Cadwallader left his South London home to paint in the world. A painter with a meticulous, private methodology in art and life, the following images are all that we know about the genesis of the three works ultimately presented at Art Basel Miami Beach in December of that year.

25 August 2020

Missing caption

Nicholas Hatfull

Sky and vapour

Josh Lilley first showed Nicholas Hatfull's iPad sky drawings — unique archival pigment prints on Somerset paper, modest but glowing — in the 2019 group show of painters' preparatory works Preparing for What. A year later we are proud to introduce and offer the first large oils derived from this daily digital practice.

25 August 2020

Missing caption

Derek Fordjour

SHELTER

SHELTER, Derek Fordjour's 2020 solo exhibition at the Contemporary Art Museum, St. Louis, was both a compact survey of the artist's recent work and a site-specific installation that placed the viewer in a position of temporary safety from a heavy storm.

25 August 2020

Missing caption

Ryan Mosley

What People Do

A year ago, Ryan Mosley was approached by the Contemporary Art Society, a heritage charity and consultancy that acquires British artworks for public display around the nation, to submit a proposal for the lobby of a skyscraper growing in London. This skyscraper, 22 Bishopsgate, would be second in size, nationwide, to Renzo Piano’s Shard, and would dwarf the landmarks of the city’s colossus-choked financial center. Paintings, thought this painter of paintings, would not fit for this space.

25 August 2020

Missing caption

Ian Davis

Cruise Ship

Initiated in late 2019 and finished in June 2020, Ian Davis’ Cruise Ship evolved through a changing global reality, and the artist's iconic figures in matching clothes never arrived, never populated the scene. The cruise ship became a ghost ship — its trajectory, its past and its future, elusive. The rippling wake signals motion, but its unclear who is steering.

24 August 2020

Missing caption

Nicholas Hatfull

An Autumn Afternoon

There’s an alley that reappears in Nicholas Hatfull’s recent paintings. It is an alley from An Autumn Afternoon (1962), Yasujirō Ozu’s final film.

24 August 2020

Missing caption

Kathleen Ryan

The Journey of Bad Melon (Party Girl)

Altogether more moist and pulpy than the citrus fruits with which the series debuted at Josh Lilley in October 2018, the Bad Melon works conjure another tangible, tactile aspect of ‘badness’.

24 August 2020

Missing caption

Kathleen Ryan

Ghost Palm

Kathleen Ryan’s Ghost Palm was commissioned in 2019 for the second edition of the biennial Desert X, an exhibition of site-responsive artworks in Southern California’s Coachella valley in the spring of 2019. A lifesize rendering of the Washingtonia filifera (desert palm) in steel, plastics and glass, Ghost Palm sat along the San Andreas Fault, the meeting point of two tectonic plates.

24 August 2020

Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader
Installation view of Half-Lowered Eyelids at Josh Lilley, presenting Gareth Cadwallader

Artworks

Milk by Gareth Cadwallader, 2017
Gate (for Oliver Winchester) by Gareth Cadwallader, 2018
Blue Plastic Bag by Gareth Cadwallader, 2018
Pile of Oranges by Gareth Cadwallader, 2017
Shunga Tea Time (After Kuniyoshi) by Gareth Cadwallader, 2018
Trees by Gareth Cadwallader, 2018
Orange Juice by Gareth Cadwallader, 2015
Landscape by Gareth Cadwallader, 2017
Egg by Gareth Cadwallader, 2018
Sculpture by Gareth Cadwallader, 2018
View from The Sailor Girl IV by Gareth Cadwallader, 2018
Coffee by Gareth Cadwallader, 2019

Gareth Cadwallader

Half-Lowered Eyelids

18 January – 16 February 2019

Josh Lilley is pleased to present Half-Lowered Eyelids, British painter Gareth Cadwallader's first solo exhibition at the gallery.

Buoyed by crystalline composition from a school of rigor and obsession connecting Paolo Uccello and Vladimir Tatlin, Cadwallader paints small Realist jewel portals never larger than 10 x 8 inches depicting acts that cannot be quantified. These acts include looking, thinking, and relaxing.

Cadwallader controls the viewers eye with understated precision, creating subliminal, sanguine and total balance. His scenes of nature and flat light, aloof from culture and history, depict a place where banality is psychedelic and time can slow to a stop. Cadwallader paints chimera scenes of obscure, unpinnable portent that are composed of familiar elements. They offer beauty without resolution.

Half-Lowered Eyelids is the most substantial presentation of the artists work to date, comprising 11 works exhibited for the first time along with Milk, first shown in the 2018 John Moores Painting Prize at the Walker Art Gallery, Liverpool. The exhibition will be accompanied by an artist's book, available at the gallery for the run of the show.

Gareth Cadwallader (b. 1979, Swindon, UK) studied at the Royal College of Art, London, Slade School of Fine Art, London, and Hunter College, New York. In the past 15 years he has participated in solo and group exhibitions at Hannah Barry, the Saatchi Gallery and Josh Lilley, London; Choi and Lager, Cologne; Le Vecteur, Charleroi, Belgium; and the Peckham Pavilion, Venice. Cadwallader lives and works in London, and has been represented by Josh Lilley since spring 2018.