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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
A Vague Arrangement of Good and Evil,

Digital Collage, 2023


VAGE

(a)VA(o)G(a)E

A Vague Arrangement of Good and Evil.

A Receding Composition Depicting Both (In)Visible Depictions of Good and Evil.

Tile by Tile, Navigating Stressful Decay and Rebirth of Good and Evil at Various Ranges of Visibility.

Amongst the Recesses of Darkness, an Intermittent Predetermined Arrangement of Squares Contains Aesthetic Metaphorical Interpretations of Both Good and Evil, at a Broad Range of Visibility to Highlight How Our Intentions, Whether Positive or Negative, Retain the Capacity to Go Undetected Due to Either Intentional Slyness/Deception, or Unthorough/Inconsistent Control Practices.



︎    As cyan washes starboard, we are reminded that the current state of things is temporary. Microcosms, cities, and galaxies are all unstable entities that foster forces over which we govern little control.

This composition is based on refractions of light interplaying amongst an office-style ceiling light. I fixated on the delicate forms, representations of external light sources, objects, and surfaces, gradually becoming overwhelmed by the encroaching blue.

My perception of what is good, and what is evil, is solely based on ideas engrained in me from my childhood and, by extension, the society that surrounds me. I see here a dark and dreary landscape being overtaken by liquid positivity, banishing the darkness square by square. This perception is symptomatic of my internal beliefs, derived from an equally complex and unstable hierarchy that is just as temporary and open to interpretation as what we see here.

Our conclusions about the respective definitions of good and evil are small, temporary, and frivolous. They eclipse lifetimes, generations, and societies; enormous to ourselves, but microscopic within the universal timeline.