The rise of Land Art as a genre is directly correlative with the collapse of any effective alternative reality structure outside capitalism. It's not a case of the art-world versus ‘the outside’, but the art-world versus hidden commitments.
Salon Neu, North Sea, 2011 onwards
Kimberley Abbott, Abigail Rebekah Barr, Alan Campbell, Francesco Cassi & Francesca Nobilucci, Lauren Chipeur, Leigh Chorlton, Claire Davies, Sarah Diver, Hannah Edward, James Epps, Tom Estes, Zoë Fothergill & Iain Morrison, , Greg Fullerton, Lewis den Hertog, Sacha Imrie, Jacqui Irvine, Elli Matzourani Koutsoukeli, Alice Ladenburg, Margaret Malcolm, Clare McDermott, Lesley Mcdermott, Martyn McKenzie, Dennis Miller, Francis Morgen, Katie Morrison, Ellyce Moselle, Kate Murphy, Despina Nissiriou, Marcus O'Shea, Tessa Payne, Aleksandr Petrovsky, Holly Prentice, Rima O. Qvale, Jim Ricks, Florian Ryan, Sara Sinclair, Gerry Smith, Sam Stocker, Richard Taylor, Hugo de Verteuil, Rachel and Holly Know Yeoman / Richard Parry in association with the Embassy Gallery and The Republic of Peru
Innovative method of oceanic redistribution ensures that when the artefact is completed the activity that fits them together disappears entirely. See more
"FANS! REMEMBER, YOU ARE ABROAD. REMEMBER, THE POLICE ARE ROUGH. REMEMBER, THE UNEMPLOYED. REMEMBER, MY EXPENSE ACCOUNT."Richard Parry, artist
Young London Sculpture Trail, Water of Leith walkway, 2011, 2012, 2013, 2018
DISCLAIMER: All titles represented through this artwork are fictitious. Any resemblance to real people or other real-life entities is purely coincidental. Any resemblance to the V22 Plc "Young London" exhibition franchise, or exhibits therein is purely conincidental and no identification is intended or should be inferred.
Destroying the identity by doing it as though it was the identity and then doing it and selling it. Every time someone buys it, it is reinforced that that is the identity. See more
Not Not Fireworks, United Kingdom Regeneration Zones, 2014, 2015, 2016
This conscious environment finds risk, tension, stretching, entanglement and discord, becoming positive where exchange and transfer is inherent.
Richard Parry Land Art television
It's like the audience are agents of their own salvation – social capitalists whose visibility depends on mobilizing any resources as a form of decentralised, third party control.