Until 31 May 2025, Huxley‑Parlour (3–5 Swallow Street, London) hosts Big Boy, the third UK solo show by artist Lisa Sanditz. In ten new canvases, Sanditz dismantles familiar hierarchies by enlarging or shrinking bodies and landscapes: an oversized boy sprawls across patriotic red‑white‑and‑blue hills; a gargantuan teenager shakes the hand of a miniaturized mother amid a coral reef; an emerald‑eyed black cat is fed tidbits by a Lilliputian human. This playful yet unsettling disproportion speaks to a present marked by climate crises, negotiated truths, and ever‑shifting roles.

Sanditz’s painting is tactile—thick gestures race across fields that recall mis‑registered advertising posters. In Sonrise, a primordial face surfaces from murky waters beneath a crimson moon; in Pinus Erectus, cartoonish forests wink at the threshold between childhood and adolescence. Each work hovers between idyll and catastrophe, as if possibility and uncertainty were inseparable sides of the same moment.

Born in St Louis in 1973, Sanditz studied at Macalester College and Pratt Institute and now lives and works in Tivoli, New York. Awarded a Guggenheim Fellowship in 2008, she is represented in the collections of the Dallas Museum of Art, the Kemper Museum, and the Columbus Museum of Art, and she appears in the cult volume Landscape Painting Now.

With Big Boy, Sanditz invites us to renegotiate the proportions of power—familial, social, environmental—staging a world where childhood grows gigantic and adulthood suddenly seems tiny.