
STATION is delighted to present I am the Hermit, You Are the Cave / You Are the Wind, I am the Song, Adam Lee’s ninth solo exhibition with the gallery. This body of work forms the first chapter of a larger ongoing project, Deaf Man’s Villa, a title borrowed from the house in which Francisco Goya spent some of his final years, creating his now-infamous Black Paintings.
The exhibition’s origins can be traced to a suite of exploratory drawings produced in early 2025. Often made on semi-transparent papers, these works capture fleeting impressions and fragmentary moments, like frottages that trace partial details from the vast visual archive Lee has gathered over many years. This process of collecting, layering, and re-imagining forms the foundation for the paintings that follow, where atmospheric worlds emerge through the merging of allegory and abstraction.
Lee’s practice draws upon a wide range of sources, including historical and family photographs, spiritual narratives, natural history, literature, and art-historical influences. These references intertwine with Lee’s own experiences, his travels, his encounters with museums and sacred places, his time spent in nature, and his reflections on the everyday. Among these inspirations, a particular text served as the catalyst for one of the exhibition’s key works: Paul Harding’s novel, Tinkers. A vivid passage from the book lingered in the artist’s mind for months and ultimately inspired the painting Leviathan.
The result is a body of work that feels intimate and mythic, deeply personal yet intertwined with shared cultural memory. Lee’s practice speaks to a contemporary moment marked by a renewed interest in storytelling, connection to place, and a yearning for deeper understanding of our shared humanity.






Adam Lee’s painting and drawing practice ties together narratives of memory, imagination and transcendence. Through his works on canvas and paper, Lee builds worlds where allegory and at- mosphere coalesce to suggest a highly personal outlook informed by collective folklore and legend. His work references a wide range of sources including historical and family photographs, spiritual narratives, natural history, and contemporary music, film and literature to investigate aspects of the human condition in relation to ideas of temporal and supernatural worlds. These explorations find their physical manifestation in Lee’s well-honed individual style, characterised by moody landscapes and a contemporary take on tenebrism.



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