• Scapeland

    Scapeland (2013-present)

    A major concern of the Scapeland series is to address the contemporaneity of landscape imagery at a time when, as Peter Osborne insists, contemporary visual art is seen as an almost exclusively urban phenomenon. Like the preceding Roadside series (2011-12), it includes evidence of the roadkill I encounter while cycling the idyllic rural lanes of East Anglia, but that roadkill imagery is now just one element within a broader articulation of the region’s natural and cultural landscape. The photographic juxtapositions within each piece in the Scapeland series generally show small things, overlooked details: a bit of the forest floor, stained concrete at the seafront, fragments of medieval carving, or simply the look of the road. Jean-François Lyotard used the term dépaysement to characterize the inescapable otherness that he saw as “a precondition for landscape.” The aim of the Scapeland series is not to create recognizable narratives or vistas (there are no horizon lines), but to present something characteristic of the area by registering the material continuity of feathers, flint, earth, guts, leaves and stone.

    Works from the series have been exhibited in Poland and the USA as unglazed giclée prints measuring 51 x 153 cm (20 x 60 inches).