I Know A Place

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Scenes from the Passion: The path in the middle of the woods , 1998 Oil On Board 43 X 53 Cm / 17 X 21 In © Courtesy of the Artist and Flowers East
I Know A Place

82 Kingsland Road
London E2 8DP
United Kingdom
May 27th, 2011 - July 2nd, 2011
Opening: May 26th, 2011 6:00 PM - 8:00 PM

shoreditch, hoxton
+44 020 7920 7777
Tues-Sat 10am-6pm
mixed-media, installation, landscape, sculpture


This exhibition brings together artists who use landscape as inspiration to explore the human need to possess, commune with and control environments. Works include paintings, mixed media constructions and sculpture that are not intended merely as documentation but question how we recognise ‘place’ as being significant and not just a space. Our construct of a place is strongly influenced by emotions, nostalgia, imaginations and ecological concerns. These works explore the way ‘place’ is often a manifold creation of the mind.

George Shaw uses chemically based poster paints, a medium not associated with landscape paintings, to depict mundane scenes from where he grew up, three miles outside of Coventry.

‘It provides a very glossy, impermeable surface to the work. Like the place itself it gives each picture a curious identity of its own.’ George Shaw

Jane Edden’s adaption of a bird box, Idyll Home, invites the notion that we long for places of sanctuary. The piece consists of a small lens mounted in the doorway, which reveals miniature humanised habitats only viewable by a single person.

The tower blocks of Camberwell have inspired many of David Hepher’s paintings. He explores the interplay between representation and materiality of urban landscape by physically incorporating concrete -the very fabric of the architecture.

Informed by her residency at the Natural History Museum, Tessa Farmer’s work features taxidermy to create alternate worlds where fairies and miniscule warriors exist. These are sculpted from plant roots and desiccated insect remains and are poised in the midst of bizarre battle scenes.

‘a biological, entomological, macabre species translating pastoral fable into nightmarish lore’ Patricia Ellis 2007

In Future Installation, Andrew Ranville’s humanist approach considers the dormant power of nature. Saplings are temporarily housed in reclaimed wooden boxes which also contain a book. The book outlines care and planting guides for the tree and a contract between artist and the patron/buyer- who becomes a key collaborator. The tree is then planted and in 15-20 years’ time the artist will travel to the location and build an installation in the mature tree. Andrew Ranville uses ecologically sensitive methods to trigger the recognition of a new path, vantage point or potential movement thus communicating ideas of sustainability.