
Lisson Gallery is pleased to present work by Shirazeh Houshiary in East Hampton. The exhibition coincides with the opening of a solo exhibition of work by the artist at Lisson Gallery in Shanghai (September 11–October 24, 2020). As Time Stood Still is her first presentation in the Chinese city, and encompasses a series of new works created and inspired by the artist’s experience of lockdown in the UK, where she is based. As with much of her work, these concurrent exhibitions are deeply personal and philosophical, exploring profound questions about perception and imagination, as well as the fundamental power of beauty.
In the painting on view in East Hampton, Only a Flicker (2016), a string of tiny penciled words overlay diaphanous clouds of light blue and violet pigments. To create these paintings, a mixture of water and pigment is poured onto the surface of the canvas to produce an enigmatic ground punctuated by pooling sediment and irregular apertures. Each word is precisely written, but they cumulatively become illegible, weaving around the picture plane to create intricate webs, which are then further interlaced with pigment. The ethereal atmosphere created within the painting defines the core ideas at the heart of Houshiary’s practice—striving to capture the intangible essence that underlies existence through the embodiment of profound abstract concepts.
Since its inauguration this summer, Lisson Gallery’s 1,000 square foot East Hampton space has presented exhibitions focused on both seminal, historic artworks and premiered new bodies of work. Previous artists on view include Stanley Whitney, Carmen Herrera, Anish Kapoor, Van Hanos, Joanna Pousette-Dart and Sean Scully. This focused format, in an intimate setting, recalls the origins of Lisson Gallery, which was established in 1967 in a storefront window on London’s Bell Street. The Long Island location of the new space joins Lisson’s two other galleries in the New York area, including the recent expansion to a second location on West 24th Street in Manhattan’s Chelsea neighbourhood.
Since rising to prominence as a sculptor in the 1980s, Shirazeh Houshiary’s practice has swelled to encompass painting, installation, architectural projects and film. “I set out to capture my breath,” she said in 2000, to “find the essence of my own existence, transcending name, nationality, cultures.” Veils, membranes and mists are leitmotifs in work that tries to visualise modes of perception, spanning the scientific and the cosmic while drawing on sources as wide-ranging as Sufism, Renaissance painting, contemporary physics and 18th century poetry. Houshiary finds succour in the transformation of material: Arabic words, one an affirmation the other a denial, are pencil-stroked onto canvas so lightly, and clouded over by finely wrought skeins of pigment, that they morph in front of the naked eye and defy reproduction. So too, aluminium armatures and elliptical brick towers, charged with dynamic tension, appear different from every angle, as if negating their own presence; her commission for the East Window of St Martins in the Fields, London, presents a cross, warped and spanning from a circular motif, as if reflected in water. “The universe is in a process of disintegration,” she says, “everything is in a state of erosion, and yet we try to stabilise it. This tension fascinates me and it’s at the core of my work” (2013).





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