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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
00:25,

Digital Collage, 2021

00:25 is an oversimplified representation of Angkor Wat, and a response to the question: “Does the grid owe its existence to humankind? Or does it pre-date us?”

Investigating ancient examples of our use of the grid, the creation of this image simulates an agnostic perspective. Exploring our relationship with nature, and how we instinctively create vertical and horizontal lines before their meaning is even verbalised.




︎    The grid is a tool which allows for interoperability between nature and humankind, devoid from cultural influence , heritage, social status, religion, etc.

Based on an aerial image of Angkor Wat The entire piece operates on a grid, to represent the form in which the structure and surrounding areas have been cultivated.

The green sticker was selected for the derogatory term: JS ORIENTAL VEG 300G X12, highlighting the disparity between authentic and masterful structures rarely acknowledged in the west and contrasting against emotionless abbreviations that assign a geographic location to a commodified national cuisine.

00:25 unifies these steeply contrasting elements in such a way that encapsulates daily experiences, whether kitsch or tasteful.