• Fiona Banner

    Frith Street Gallery | Golden Square

    Fiona Banner has been thinking about full stops—as the British call periods—for a couple of years now. She had always used them, of course, in the books and “wordscapes,” the sheer size and scale of which, coupled with the density of the text they carry, force a balance between words to be read and an image to be apprehended. What full stops are in themselves, however, had not hitherto been considered. Banner initially wondered whether there might be something like the typographical equivalent of a pause in speech, a hesitant and half-inquisitive “errrrrm . . . .” She then began working on “Full

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  • Matthew Tickle

    Matt's Gallery

    The English landscape is one of the most worked over in the world—barely a square inch of it has escaped the attention of landowners and developers. Arguably, England’s most important and ambitious contribution to the visual arts is “garden design,” whereby entire forests, hills, and lakes can be created and destroyed in the twinkling of an eye.

    Matthew Tickle seems to confront that state of affairs head-on in his new installation, ironically titled IDYLL, 1999. Tickle created a mock woodland in Matt’s Gallery, an installation space on the ground floor of a former industrial building in London’s

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