A driving force in artists’ books is the exploration of less conventional artforms and presentations. Daniel Sherington’s landscape landscape landscape (2021) delves into the conventions of Australian landscape as perpetrated by early painters, arguing for “an alternative enclosed space containing ideas of fabrication and falsehood”. Sherington’s generic landscapes are reframed through the computer, with several iterations presented serially in etchings on Perspex. They have an interactive element, as viewers can change their order, subverting the art-historical landscape canon. The pivot to this sculptural work is a labour-intensive version in architect’s pen, writ large on the wall, that faithfully reproduces their digital origins.
Image: Courtesy of the artist and Onespace Gallery.