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Suburban Utopia, An Infertile Place (SU4IP)
Lyndon Watkinson


Lyndon Watkinson (1999) is an artist, designer, writer, and musician based in Sheffield, UK. Democratising art and art context through artworks, publications, graphic design, articles, and sound. Creative director and founder of the online arts organisation SU4IP. His work is characterised by a desire for precision, often depicting aesthetics that celebrate and criticise the absurdity of corporatized identity, calling into question the necessity of creating false exteriors when what is not seen is often just as important.

In late 2020, a blog post entitled Suburban Utopia, An Infertile Place formed part of the wider inquiry and development of his practice for his bachelor's degree in fine art. As his work matured, he applied this term as a formalisation of his creative endeavours, later abbreviating it to SU4IP, now used as a digital alias and publishing entity.

Artworks
Publications
Articles
Websites

About

Suburban Utopia, An Infertile Place (SU4IP)
Lyndon Watkinson


Lyndon Watkinson (1999) is an artist, designer, writer, and musician based in Sheffield, UK. Democratising art and art context through artworks, publications, graphic design, articles, and sound. Creative director and founder of the online arts organisation SU4IP. His work is characterised by a desire for precision, often depicting aesthetics that celebrate and criticise the absurdity of corporatized identity, calling into question the necessity of creating false exteriors when what is not seen is often just as important.

In late 2020, a blog post entitled Suburban Utopia, An Infertile Place formed part of the wider inquiry and development of his practice for his bachelor's degree in fine art. As his work matured, he applied this term as a formalisation of his creative endeavours, later abbreviating it to SU4IP, now used as a digital alias and publishing entity.

Artworks
Publications
Articles
Websites

About
00:03,

Digital Collage, 2021

00:03 engages with human intervention in nature. The basis of the image is derived from a found shopping list: ‘Sophie[’s] Card’, ‘Chicken’, and 'Milk'. Overlaying this element is a soft, pale-yellow grid, representing the degrees to which man bends nature to its cause, d-a-s-h-e-d to emulate the features of Agnes Martins’ Starlight.

The unwillingness of the grid to appear over the text and ruled lines fails to regulate our own actions and assess our internal contradictions as a species. To what extent should we manipulate the world around us without stopping to call ourselves into question?



︎    A structure composed of intersecting vertical and horizontal lines, positioned at predetermined intervals, the grid is brutal, absolute, apolitical, and non-discriminatory. The application of the grid does not intrinsically suggest modification. The grid is a communication tool, used for both what can be perceived as good and what can be perceived as evil.

Agnes Martin works in this way. Once an idea in her mind has been reached, she allows for no subconscious intervention. The idea remains untainted.

The main body of this image is composed of a shopping list. I wanted to encapsulate this idea of the grid being used as a tool to understand, quantify, and regulate nature, appearing over the depictions of only the natural components, but not altering them.