Julian Opie: A Contemporary Portrait of Motion and Modern Life at Lisson Gallery, New York
“Each retina reads a flat image, but your body senses space, and that – combined with bifocal vision and movement – means that a picture with a carved depth creates a kind of animation, a sort of magic trick as your brain reads, with image and material competing in the same space.”
Julian Opie, 2024
The celebrated contemporary artist Julian Opie returns to Lisson Gallery in New York this spring with a dynamic exhibition of new and recent works. On view until 19 April 2025, this show is a vibrant exploration of movement, sculpture, and the human form—marking Opie’s first solo exhibition in New York in five years.
Lisson Gallery, one of the world’s most respected contemporary art galleries, has long been associated with pioneering minimalist and conceptual artists. Founded in 1967, it has supported some of the most significant international artists of the past century. Its commitment to pushing boundaries in the visual arts continues with this timely showcase of Opie’s work.
A Modern Master of the Walking Figure
Known globally for his instantly recognisable style, Julian Opie distils the essence of human presence into crisp lines and minimalist forms. Drawing from influences as varied as classical sculpture, public signage, and Japanese woodblock prints, Opie creates art that balances visual simplicity with emotional and social depth.
In this exhibition, Opie continues his longstanding fascination with the walking figure, using a reduced visual language to explore the interplay between image, identity, and motion. The works on display encompass sculptures, paintings, and animated LED installations, all of which highlight his enduring exploration of how we see and are seen.
Highlights from the Exhibition
At the heart of the show are four life-sized sculptures from Opie’s Busan Walkers series (2023), each capturing an anonymous pedestrian mid-stride. These works—crafted from aluminium and painted with high-gloss automotive finishes—bridge the gap between portrait and signage, offering a kind of urban still life that is both immediate and timeless. Their vivid colours and stylised forms are as much a commentary on modern city life as they are standalone objects of beauty.
Among these are standout works such as Red Phone and Yellow Phone (2023), figures depicted walking while engrossed in their mobile devices—an everyday moment that becomes, in Opie’s hands, an emblem of contemporary existence. Each sculpture is placed on a concrete plinth, calling to mind classical statuary but rendered in a starkly urban material language.
Further into the gallery, visitors encounter animated LED works portraying lines of schoolchildren in continuous motion. These looping figures are devoid of facial detail, yet individualised through subtle differences in hairstyle, posture, and clothing—offering a delicate balance between uniformity and uniqueness. The rhythmic choreography of their movements is both hypnotic and deeply human.
Three large-scale resin paintings round out the exhibition. Featuring engraved and painted depictions of walking children, these works evoke the grandeur of ancient architectural friezes while capturing the fleeting motion of everyday life. Their monumental scale and stone-like surfaces elevate the subject matter to something both historical and immediate.
Why You Should Visit
This exhibition is a must-see for anyone interested in modern portraiture, urban sculpture, or the evolving role of art in public life. Opie’s ability to strip back complexity and still convey nuance makes his work approachable yet thought-provoking.
Whether you're a seasoned collector, a casual gallery-goer, or simply curious about contemporary art in New York, this show offers a compelling reason to step inside Lisson Gallery. It’s a celebration of movement, identity, and the subtle beauty of the everyday—told through the eyes of one of Britain’s most distinctive artists.
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