In Conversation with Lydia Ericsson Wärn Words by Lydia Earthy
The full interview is now up on our website - find the link in bio to read.
“The starting point for the title comes from the succession of my previous shows. The show I did in Stockholm at Issues was called Core, and an earlier one at Meredith Rosen Gallery in New York was called Centre. For me, I like the continuity – from Centre to Core, and then to Cocoon. It’s a subtle shift, but I like to think of them as linked, as a succession.
Whether the figures in the paintings are emerging or dissolving really resonates with me. Cocoon felt right because it continues the succession – and because it evokes a space where something is being created, a space before language, where something is coming together. It can be protected, and personally, I also liked the connection between the studio and the cocoon. A studio is very much like a cocoon: it contains the paintings and me as the reclining model. There’s this doubling – the works contain me, and I exist inside the studio-cocoon making them.”
Exhibition view, Lydia Ericsson Wärn, Cocoon at Brunette Coleman, London. Courtesy of the artist and Brunette Coleman, London. Photography by Jack Elliot Edwards.
‘Conduit’ by Lydia Ericsson Wärn from her solo exhibition ‘Cocoon’ which continues at the gallery until 11th December.
Conduit, 2025
Oil on canvas
18 x 90 cm
Blue Function @brunette_coleman
Thank you @annaeaves and @tedtargett it’s been an absolute joy working on this show together
With support of the Swedish Arts Grants Committee
The St. Hieronymous appears to St. Augustine, Masaccio 1426, Love on May 17 2025, Daddi, Love, Two Scenes from the Legend of St Humility ca. 1330 and butter
