Julian Opie’s latest exhibition at the Lisson Gallery in New York heralds a new chapter in the artist’s career, featuring innovative depictions of pedestrians and, for the first time, children. Known globally for his distinctive style, Opie’s work captures individualism through simplified forms, whether expressed in public sculptures, digital animations, or paintings. Visitors to this exhibition, which runs from February 13 to April 19, 2025, will encounter playful studies of scale, movement, and diverse materials, inviting deeper contemplation of everyday human interactions.
PROJECT OVERVIEW
Artist: Julian Opie
Gallery: Lisson Gallery
Location: New York, NY
Exhibition Dates: February 13 – April 19, 2025
Sculpture Series: Busan Walker Series
Materials: Aluminum, Hand-painted Resin, LED Screens
At the heart of the gallery stand four towering aluminum sculptures from the “Busan Walker Series,” each painted in high-gloss auto paint. These artworks, approximately 10 feet tall, represent pedestrians along the Busan seafront in Korea. Especially notable are “Red Phone” and “Yellow Phone,” which offer a whimsical reflection on modern life as they depict phone-focused individuals walking in stride. The artworks themselves become an engaging mirror for gallery-goers, encouraging interactions among viewers and blending the line between art and life. One visitor’s experience of snapping a selfie revealed delightful parallels between the viewer’s actions and the sculptures’ forms, highlighting the communal and interactive nature of Opie’s art.
In a novel exploration of subjects, Opie introduces his first series portraying children, with works reaching up to 13 feet tall. These reliefs, crafted from hand-painted resin resembling stone, depict different childhood stages—Kindergarten, First Grade, and Third Grade—against vivid backgrounds. Initially, distinguishing age differences between them proves challenging because each group shares the same height. However, closer inspection reveals contrasts in clothing, stride, and proportion, inviting viewers to delve deeper into the nuances of youthful development. As one moves nearer to the works, the black outlines recessed into the material blur into abstraction, further layering the experience with elements of depth and texture.
Adding to the exhibit’s immersive environment, the Lisson Gallery’s design plays a crucial role. Renowned for its superior lighting provided by long, narrow skylights, the gallery effectively utilizes natural daylight despite being situated beneath the High Line Park. This design element has previously enabled unique exhibitions, such as creating real rainbows within the space. In the current setting, the specific angle of light adds a mysterious, almost sacred quality to Opie’s reliefs, evoking a sense of viewing ancient temple artwork and encouraging introspective engagement.
Opposite these traditional media, three expansive LED screens contrast the stillness with perpetually animated scenes. Each screen, around 6 feet wide, continuously loops animations of the same children groups, creating a virtual movement akin to characters on invisible treadmills. The bright, high-definition LED presentation accentuates the crispness and detail of these digital works. Watching the characters’ different rhythmic strides sync and desync provides a mesmerizing, almost meditative experience, unique to in-person viewings and only partially captured in video recordings of the exhibition.
Opie’s exhibition is a compelling invitation to reimagine familiar urban scenes and the lives of fellow pedestrians. His art encourages viewers not just to engage within the gallery’s confines but also to carry a refreshed perspective into the bustling rhythms of city life beyond its walls. For those in Los Angeles or Baltimore, Opie’s digital public artworks concurrently animate select city screens, broadening his reach and reinforcing his artistic message. Thus, this exhibition stands as a catalyst for continued exploration, revealing the extraordinary in the intricacies of everyday human movement and interactions.
