Lily Stockman: The Tilting Chair
Charles Moffett is pleased to present The Tilting Chair, a solo exhibition of new paintings by Los Angeles-based artist Lily Stockman. This marks the artist鈥檚 third solo presentation with the gallery and her first show in New York since 2020. The gallery鈥檚 exhibition coincides with Stockman鈥檚 inclusion in two museum exhibitions currently on view at the newly opened Orange County Museum of Art 鈥� the California Biennial 2022: Pacific Gold and 13 Women.
The exhibition鈥檚 title is inspired by the Shaker tilting chair. In the late 19th century, Shaker woodworkers across New England began introducing a new detail to their traditional ladder-back chairs: a small, half-moon socket integrated into the back legs so that a person could lean back without slipping or denting the floor. The tilting chair allowed the sitter to break from the axis of the table and lean back, just enough, to introduce the possibility of deeper thought.
Stockman鈥檚 new paintings likewise enjoy a newfound ball and socket of sorts, infusing her floating forms, grids, and frames with a fresh elasticity and dynamic sense of movement. While still drawn from the natural world and its grammar of symmetry, camouflage, and repetition, we now see circles split in meiosis. Borders melt. Symmetries lean, ever so slightly. The customary logic of her distinctive painterly system has begun 鈥� playfully 鈥� to break its own rules.
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Charles Moffett is pleased to present The Tilting Chair, a solo exhibition of new paintings by Los Angeles-based artist Lily Stockman. This marks the artist鈥檚 third solo presentation with the gallery and her first show in New York since 2020. The gallery鈥檚 exhibition coincides with Stockman鈥檚 inclusion in two museum exhibitions currently on view at the newly opened Orange County Museum of Art 鈥� the California Biennial 2022: Pacific Gold and 13 Women.
The exhibition鈥檚 title is inspired by the Shaker tilting chair. In the late 19th century, Shaker woodworkers across New England began introducing a new detail to their traditional ladder-back chairs: a small, half-moon socket integrated into the back legs so that a person could lean back without slipping or denting the floor. The tilting chair allowed the sitter to break from the axis of the table and lean back, just enough, to introduce the possibility of deeper thought.
Stockman鈥檚 new paintings likewise enjoy a newfound ball and socket of sorts, infusing her floating forms, grids, and frames with a fresh elasticity and dynamic sense of movement. While still drawn from the natural world and its grammar of symmetry, camouflage, and repetition, we now see circles split in meiosis. Borders melt. Symmetries lean, ever so slightly. The customary logic of her distinctive painterly system has begun 鈥� playfully 鈥� to break its own rules.
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Luminous, pastel colors abound in new paintings from Lily Stockman鈥檚 solo show 鈥淭he Tilting Chair鈥� at Charles Moffett in New York.
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