Great Piece of Turf
Miranda-Bilbao Phil Coy Dalziel + Scullion Peter Dukes
Sophie Lascelles Denis Massi Kate
Scrivener Jem Southam
Finlay Taylor Sarah Woodfine
Jasone Miranda-Bilbao Land Formation 2000
clay and sand 80 x 80 x 70 cm (approx.)
31 January to 9 March 2003
Piece of Turf
presents ten artists whose work is concerned with landscape and natural
exhibition brings together work looking at the detail of matter trodden
under foot to grand mountain landscapes, from domesticated animals to rarely
observed creatures of the deep oceans. The pieces investigate ideas ranging
from how the visions of the world are changed through technical advances to
the continued importance of taxonomic study to order the world around us.
Dealing with images and ideas of landscape and natural history at present,
the works cannot be divorced from current environmental issues, evolutionary
concepts and developments across the sciences. As these artists show,
with a gritty integrity, an idealised notion of nature (a lost paradise) is
still a concern but these re-presentations question whether this can or ever
exists. The title
Great Piece of Turf is taken from the
Drer watercolour of 1503,
Das Grosse Rasenstck.
sculpture Land Formation appears as a delicate study of rock strata,
made of clay and sand, the same geological material as the original land.
giant pixels on a sack trolley wait either to be delivered or placed in new
surroundings. These single flat squares of
are dissected from satellite surveillance images and digital cartographic
maps, enlarged to actual size and made real in the form of painted panels.
Lost Wave is a 50cm plastic beach ball containing water collected
from within the 2km exclusion zone around
Nuclear Power Station.
animation Undergrowth, a clump of ordinary-looking herbaceous plants,
grows rapidly from seedlings to maturity in the manner of time-lapse video.
As they grow an intervening hand appears, seeming to prompt changes to the
plants - subtle movements, alterations of
or form. At the end of the sequence the hand appears to grasp at the clump
of weeds and tears them out of the frame.
presents a photo triptych of horsemen in a dusty North African scene. Below
the triptych is a panel of printed text, larger fonts read Blue Sky,
Romantic Experience and Pulsing Life, smaller texts in this mesh of
abstracted information read Definite Impact, Perennial Power, Optical
Illusion and Common Property.
bonsai tree Small Plot of Land sits innocently in its pot; it is an
object of perversion, a desire to control the natural world to our own ends.
Scrivener has painted a minute text across the surface of every leaf
relating tales of violent weather phenomena such as snow balls the size of
basket balls to recounts of raining frogs.
has for the last two years been documenting the
changes in his garden from the same position. The resulting photographs read
as a set of subtle events but on closer viewing the politics of
interaction and fence building become apparent along with the inevitable
ramble of plants and seasonal impacts to the shifting of garden gnomes.
uses the images of two mountains in
a depiction of two geographically separate places forced together in a
conflict the nature. These landscapes are rendered in chrome mounted on the
wall, the mechanical surface shifting the reading and reflecting the viewer.
presents a 16mm film of a lonely figure walking along the horizon:
looking small and almost insignificant but undeterred by the vast landscape.
draws two views of the same wooden dwelling, isolated in its environment and
on separated sheets of paper. These views offer an emotive response as a
potential for sanctuary and a threatening presence in the land.
exhibition is a book
with commissioned works by each of the artists. This is intended as a work
in its own right, a portable exhibition to outlive the length of the gallery
event. This signed book will be published by Pupa Press and
at 30 copies.
Piece of Turf
Taylor and is part of a series of related exhibitions and events which will
continue at Cover Up, 25 Calvin St in E1. They will include invited curators
Mel Gooding, Michael Wilson and Dan Howard-Birt
and start with an exhibition Into the Red
opening on February 28th.